The uncut version of Last Summer is available on DVD for $16.99 from ModCinema in a fairly pristine print:
https://modcinema.com/categories/6-new- ... t-1969-dvd
They also carry the vastly inferior cut version which was obviously taken from an old TV broadcast. If buying, make sure you order the one labeled LAST SUMMER (UNCUT).
Best Supporting Actress 1969
-
Big Magilla
- Site Admin
- Posts: 19336
- Joined: Wed Jan 01, 2003 3:22 pm
- Location: Jersey Shore
Re: Best Supporting Actress 1969
TCM may be showing Last Summer overnight tonight.
"may be" is doing some heavy lifting here. I believe they are, but we may struggle to watch it in a world where even "cable" is done through the internet in many cases.
If you look on their schedule on their website, it shows it at 3:15 AM Eastern, but if you change the time zone, it goes away, and there is nothing shown in that time slot. If I look on my YouTube TV schedule, it shows it at 2:15 AM, which is what I would expect since I am in the Central Time Zone, so I have set it to add to my library, but it also says that, "This program is unavailable for streaming on the internet", which means I probably wouldn't be able to watch it anyway since YouTube TV is fully internet-based. But maybe there will be some type of workaround!
"may be" is doing some heavy lifting here. I believe they are, but we may struggle to watch it in a world where even "cable" is done through the internet in many cases.
If you look on their schedule on their website, it shows it at 3:15 AM Eastern, but if you change the time zone, it goes away, and there is nothing shown in that time slot. If I look on my YouTube TV schedule, it shows it at 2:15 AM, which is what I would expect since I am in the Central Time Zone, so I have set it to add to my library, but it also says that, "This program is unavailable for streaming on the internet", which means I probably wouldn't be able to watch it anyway since YouTube TV is fully internet-based. But maybe there will be some type of workaround!
-
FilmFan720
- Emeritus
- Posts: 3650
- Joined: Thu Jan 02, 2003 3:57 pm
- Location: Illinois
Re: Best Supporting Actress 1969
This was a tough choice between Burns and York, and I see that my vote just pushed them into a tie. Seems fitting.
"Go into the world and do well. But more importantly, go into the world and do good."
- Minor Myers, Jr.
- Minor Myers, Jr.
Re: Best Supporting Actress 1969
My picks this year:
1. Pamela Franklin, The Prime of Miss Jean Brodie
2. Catherine Burns, Last Summer
3. Toshiko Ii, Eros + Massacre
4. Mildred Natwick, Trilogy
5. Yūko Kusunoki, Eros + Massacre
1. Pamela Franklin, The Prime of Miss Jean Brodie
2. Catherine Burns, Last Summer
3. Toshiko Ii, Eros + Massacre
4. Mildred Natwick, Trilogy
5. Yūko Kusunoki, Eros + Massacre
-
Sonic Youth
- Tenured Laureate
- Posts: 8005
- Joined: Wed Jan 01, 2003 8:35 pm
- Location: USA
Re: Best Supporting Actress 1969
She changed her screen names to Caburns45 and Kaybay66.reggiema24 wrote:Loved Catherine Burns. Does anyone know whatever happened to her?
"What the hell?"
Win Butler
Win Butler
-
reggiema24
- Graduate
- Posts: 8
- Joined: Thu Dec 08, 2011 6:24 am
Re: Best Supporting Actress 1969
Loved Catherine Burns. Does anyone know whatever happened to her?
Re: Best Supporting Actress 1969
This is a pretty strong lineup. I'd rank them thusly:
1. Catherine Burns
2. Dyan Cannon
3. Goldie Hawn
4. Susannah York
5. Sylvia Miles
Catherine Burns' nomination is one of the coolest things Oscar has done. And for such a great, piquant little film, too. Her character could have been a mess of neuroses and actorly tics standing in for psychological detail, but Burns, from scene to scene, grounds it in ways that are genuine and natural but no less effective for it. Her big speech is incredibly well-done but the entire performance is so cohesive it doesn't seem like a standout for me.
Dyan Cannon really should have been considered a lead for this film, but she's great. Gould is brilliant and provides the biggest laughs but she, while funny, provides the film's emotional underpainting, her intuitive style revealing the complexity and pain both behind and engendered by these 'silly games'.
Watching Cactus Flower is such a nervous-laughter kind of experience but Hawn's performance is truly starmaking. She coasts through on pure charisma - she's likeable, fragile and spontaneous. It isn't incredibly accomplished acting but it shows Hawn's raw gift for comedy and the unique way she can imbue it with pathos (her crying scene, where she licks up the tear that trickles down her cheek, is a perfect example).
York's performance is beloved but I guess I just didn't get into it. Sure, she's an actress, but you can play an actress without seeming like an actress playing an actress. In her brief breakdown scene she is startlingly vibrant, in-the-moment and poignant but I wish she had given us more of a taste of the fragility under the OTT exterior throughout the film instead of just in one pivotal scene.
Sylvia Miles barrels into the film for two minutes, hooting and hollering, blocking the other actors and generally being in her own world. I'm happy that a performance as short as this was noticed without any precursor attention, but she just isn't very good and her little interlude seems like a garish distraction from the true pain of the story that surrounds it.
As much as I love Burns' performance, my winner for this year would be the scarily accomplished Pamela Franklin in The Prime of Miss Jean Brodie, who is just fantastic, controlled without seeming actorly, catching the eye from both the edge of the frame and from the focus of close-ups. Hers is one of the great supporting performances of the 20th Century and I'm really shocked she didn't end up getting nominated, especially considering that Prime had the out-of-nowhere support necessary to secure a win for Smith.
1. Catherine Burns
2. Dyan Cannon
3. Goldie Hawn
4. Susannah York
5. Sylvia Miles
Catherine Burns' nomination is one of the coolest things Oscar has done. And for such a great, piquant little film, too. Her character could have been a mess of neuroses and actorly tics standing in for psychological detail, but Burns, from scene to scene, grounds it in ways that are genuine and natural but no less effective for it. Her big speech is incredibly well-done but the entire performance is so cohesive it doesn't seem like a standout for me.
Dyan Cannon really should have been considered a lead for this film, but she's great. Gould is brilliant and provides the biggest laughs but she, while funny, provides the film's emotional underpainting, her intuitive style revealing the complexity and pain both behind and engendered by these 'silly games'.
Watching Cactus Flower is such a nervous-laughter kind of experience but Hawn's performance is truly starmaking. She coasts through on pure charisma - she's likeable, fragile and spontaneous. It isn't incredibly accomplished acting but it shows Hawn's raw gift for comedy and the unique way she can imbue it with pathos (her crying scene, where she licks up the tear that trickles down her cheek, is a perfect example).
York's performance is beloved but I guess I just didn't get into it. Sure, she's an actress, but you can play an actress without seeming like an actress playing an actress. In her brief breakdown scene she is startlingly vibrant, in-the-moment and poignant but I wish she had given us more of a taste of the fragility under the OTT exterior throughout the film instead of just in one pivotal scene.
Sylvia Miles barrels into the film for two minutes, hooting and hollering, blocking the other actors and generally being in her own world. I'm happy that a performance as short as this was noticed without any precursor attention, but she just isn't very good and her little interlude seems like a garish distraction from the true pain of the story that surrounds it.
As much as I love Burns' performance, my winner for this year would be the scarily accomplished Pamela Franklin in The Prime of Miss Jean Brodie, who is just fantastic, controlled without seeming actorly, catching the eye from both the edge of the frame and from the focus of close-ups. Hers is one of the great supporting performances of the 20th Century and I'm really shocked she didn't end up getting nominated, especially considering that Prime had the out-of-nowhere support necessary to secure a win for Smith.
-
Cinemanolis
- Adjunct
- Posts: 1188
- Joined: Sat Oct 11, 2003 9:27 am
- Location: Greece
Mister Tee wrote:I'm afraid Susannah York comes next for me. I like her work in general, but in They Shoot Horses I'm too aware of her as An Actress striking poses. Okay, that sounds harsher than I intended -- I don 't dislike her in the picture. But I prefer Bonnie Bedelia's genuineness, and find the latter's Best Things in Life Are Free more honestly moving than any of York's scenes.
See, that "I'm AN ACTRESS" thing really worked for me because Alice is an actress (one can only imagine exactly what type of 30's actress -- a bad Harlow knock-off of some sort) and her reason for entering the dance contest is to get discovered. Everything she does is over-dramatic and affected (striking poses and all) which, of course, has the unintended effect of drawing too much attention to herself. Gig Young recognizes pretty quickly that her "glamor" is at odds with the illusion the contest organizers are trying to portray and that she needs to be taken down a peg or two--or five--for the benefit of the "show": downtrodden people whose misery is on display for a paying audience. Even for her big downfall moment, she takes center-stage, still very much the ACTRESS, and finishes herself off for the "audience". I see it as a strong acting choice for the character. Your mileage may vary.
I agree with you on Bonnie Bedelia, though. Her performance of "Best Things in Life Are Free" is so quietly heartbreaking.
Edited By flipp525 on 1280523168
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
-
Mister Tee
- Tenured Laureate
- Posts: 8647
- Joined: Wed Jan 01, 2003 2:57 pm
- Location: NYC
- Contact:
Did we discuss this race in another thread sometime recently? I vaguely recall alot of people expressing support for York's performance, and I wouldn't have just concocted that out of thin air.
Damien, you and I share the fact of being cut off from film-going for a period in this era -- the difference is, mine ended about the time yours began. I was a college freshmen in 1969/70, and, though I saw nothing during Fall quarter, when faced with an Evanston winter -- and still adjusting to the alienation of being away from home for the first time -- I dove into movies full-bore right after the nominations. Prior to that, I'd seen only Midnight Cowboy, True Grit and Alice's Restaurant. Now, in the space of maybe six weeks, I gorged myself on Easy Rider, Z, They Shoot Horses, The Sterile Cuckoo, Last Summer, Cactus Flower and Bob & Carol & Ted & Alice -- which left me perfectly positioned for this category and most others.
Seen now, Hawn's performance looks pretty wan -- and nothing compared to those two fine later performances Damien cites -- but many critics flipped strictly on the basis of her doing more than stumbling over cue cards and dancing, which is what she'd done on Laugh In. Given the extraordinarily long success Goldie's managed, you could say the critics were prescient, but now and at the time I thought they over-rewarded a minor piece of work.
Sylvia Miles is, as Magilla-channelling-Stanwyck says, utterly authentic, but her part is miniscule -- in fact, her two nominated performances together can't come to 15 minutes. I'd thought at the time if anyone from Midnight Cowboy would be nominated here it would have been Brenda Vaccaro. She had to wait a few years (and then be nominated for one of the worst films ever to yield an Oscar bid).
I'm afraid Susannah York comes next for me. I like her work in general, but in They Shoot Horses I'm too aware of her as An Actress striking poses. Okay, that sounds harsher than I intended -- I don 't dislike her in the picture. But I prefer Bonnie Bedelia's genuineness, and find the latter's Best Things in Life Are Free more honestly moving than any of York's scenes.
Dyan Cannon won the newly inaugurated supporting prize from the NY critics. At the time I wasn't THAT impressed with her, but a recent viewing changed my view. The film -- never great, by me -- now seems more a loosely connected series of sketches than a full film (which is why it seems to stop rather than gracefully end), but Cannon and Gould share the by-far most enjoyable sketches. Gould is very funny in the "I don't care, I just want sex" scene, but Cannon is almost funnier as she stands in for the audience, with her incredulity at the wild things her friends are suddenly doing with their lives. It's a very strong performance.
My landslide choice at the time, however, was Catherine Burns, and it's very hard to divorce myself from that, even though, like most, I've had difficulty tracking it down for a re-viewing (it was on TBS, sometime in the late 80s, I believe, but I didn't sit down and watch carefully). I'm dubious about how well it'll hold up, partly because of some critical carping I've read (Frank Rich, when he was the NY Post film critic, once referred to it as "arguably the worst movie of the last decade"), but also because I know the film, and Burns as the heart of it, fit so neatly with the person I was in that cold, lonely winter. Last Summer is about feeling the outsider among a group of those more attractive, popular and privileged. Hershey, Thomas and Davison (amazing how well-sustained all their careers have been) represented (to use a phrase of the time) the in-crowd, and Burns stood in for all of us who felt excluded from it (which, at age 18, was approximately everyone I knew). There's plenty to recommend the Burns performance above all this -- most notably an incredibly moving monologue about her mother's death -- but I wonder if my intense identification with the character is what put me so squarely in her corner. Also, as I've mentioned here before, I saw Burns do a showcase opposite a friend of mine in the mid-80s in which she was amateurishly bad, making me wonder if the seeming beauty of her Last Summer work was an illusion based on casting and Frank Perry's cloaking her limitations. Till I see it again, I can't be sure.
But, in the end, this is another vote for Young Mister Tee. I couldn't win an Oscar for Burns back in the day, but I'll do my bit to try and push her for our alternate universe version.
Damien, you and I share the fact of being cut off from film-going for a period in this era -- the difference is, mine ended about the time yours began. I was a college freshmen in 1969/70, and, though I saw nothing during Fall quarter, when faced with an Evanston winter -- and still adjusting to the alienation of being away from home for the first time -- I dove into movies full-bore right after the nominations. Prior to that, I'd seen only Midnight Cowboy, True Grit and Alice's Restaurant. Now, in the space of maybe six weeks, I gorged myself on Easy Rider, Z, They Shoot Horses, The Sterile Cuckoo, Last Summer, Cactus Flower and Bob & Carol & Ted & Alice -- which left me perfectly positioned for this category and most others.
Seen now, Hawn's performance looks pretty wan -- and nothing compared to those two fine later performances Damien cites -- but many critics flipped strictly on the basis of her doing more than stumbling over cue cards and dancing, which is what she'd done on Laugh In. Given the extraordinarily long success Goldie's managed, you could say the critics were prescient, but now and at the time I thought they over-rewarded a minor piece of work.
Sylvia Miles is, as Magilla-channelling-Stanwyck says, utterly authentic, but her part is miniscule -- in fact, her two nominated performances together can't come to 15 minutes. I'd thought at the time if anyone from Midnight Cowboy would be nominated here it would have been Brenda Vaccaro. She had to wait a few years (and then be nominated for one of the worst films ever to yield an Oscar bid).
I'm afraid Susannah York comes next for me. I like her work in general, but in They Shoot Horses I'm too aware of her as An Actress striking poses. Okay, that sounds harsher than I intended -- I don 't dislike her in the picture. But I prefer Bonnie Bedelia's genuineness, and find the latter's Best Things in Life Are Free more honestly moving than any of York's scenes.
Dyan Cannon won the newly inaugurated supporting prize from the NY critics. At the time I wasn't THAT impressed with her, but a recent viewing changed my view. The film -- never great, by me -- now seems more a loosely connected series of sketches than a full film (which is why it seems to stop rather than gracefully end), but Cannon and Gould share the by-far most enjoyable sketches. Gould is very funny in the "I don't care, I just want sex" scene, but Cannon is almost funnier as she stands in for the audience, with her incredulity at the wild things her friends are suddenly doing with their lives. It's a very strong performance.
My landslide choice at the time, however, was Catherine Burns, and it's very hard to divorce myself from that, even though, like most, I've had difficulty tracking it down for a re-viewing (it was on TBS, sometime in the late 80s, I believe, but I didn't sit down and watch carefully). I'm dubious about how well it'll hold up, partly because of some critical carping I've read (Frank Rich, when he was the NY Post film critic, once referred to it as "arguably the worst movie of the last decade"), but also because I know the film, and Burns as the heart of it, fit so neatly with the person I was in that cold, lonely winter. Last Summer is about feeling the outsider among a group of those more attractive, popular and privileged. Hershey, Thomas and Davison (amazing how well-sustained all their careers have been) represented (to use a phrase of the time) the in-crowd, and Burns stood in for all of us who felt excluded from it (which, at age 18, was approximately everyone I knew). There's plenty to recommend the Burns performance above all this -- most notably an incredibly moving monologue about her mother's death -- but I wonder if my intense identification with the character is what put me so squarely in her corner. Also, as I've mentioned here before, I saw Burns do a showcase opposite a friend of mine in the mid-80s in which she was amateurishly bad, making me wonder if the seeming beauty of her Last Summer work was an illusion based on casting and Frank Perry's cloaking her limitations. Till I see it again, I can't be sure.
But, in the end, this is another vote for Young Mister Tee. I couldn't win an Oscar for Burns back in the day, but I'll do my bit to try and push her for our alternate universe version.
Five respectable performances.
Sylvia Miles has this very short but showy role at the beginning of Midnight Cowboy. It made her a popular character actress - the New Generation's Agnes Moorehead - often in roles which weren't less short and showy (though usually in less interesting movies). Not Oscar-worthy, but much worse performances have been nominated.
Catherine Burns had that kind of unconventional looks (unconventional by Hollywood standards, I mean) that the Academy sometimes mistakes for quality acting; in this case the acting was, if not great, good - and those looks were perfect for the part. Then there was that famous monologue - no Shakespeare, let's face it, rather typical 60s psychoanalysis, but she admittedly did it well and made it effective. Still, it's more like the kind of impressive turn which sometimes acting students surprise us with - not necessarily the sign of a strong and lasting talent.
I saw Bob & Carol & Ted & Alice almost thirty years ago, and I should really see it again - if only to check if it has dated as badly as I fear. it was already a bit dated when I saw it actually, but it was still quite enjoyable and even funny at times - Dyan Cannon especially. The fact that she was attractive and often semi-naked in the movie might have had something to do with her nominstion, too.
Goldie Hawn has her fans and her detractors, and I agree that not all her movies are very good; but she had an undeniable talent for comedy (she HAS it actually, though now she can't move her face anymore), and you can see it - still rough maybe, as she was very young back then - in Cactus Flower; I can understand why they gave her the Oscar.
But I will give mine to Susannah York, one of the best element of one of the best movies of this year. There is something really tragic in that perfectly made-up, Jean-Harlow-like face slowly crumbling before our eyes till the final, unavoidable reakdown - nothing she had done before on the screen could prepare us for this kind of powerful performance (and it's not like she hadn't been good before). And while she may have been vocal against her Oscar nomination, she was still there on Oscar night, as we can see here:
http://www.youtube.com/watch?v=GVtKnZoKbjs
Sylvia Miles has this very short but showy role at the beginning of Midnight Cowboy. It made her a popular character actress - the New Generation's Agnes Moorehead - often in roles which weren't less short and showy (though usually in less interesting movies). Not Oscar-worthy, but much worse performances have been nominated.
Catherine Burns had that kind of unconventional looks (unconventional by Hollywood standards, I mean) that the Academy sometimes mistakes for quality acting; in this case the acting was, if not great, good - and those looks were perfect for the part. Then there was that famous monologue - no Shakespeare, let's face it, rather typical 60s psychoanalysis, but she admittedly did it well and made it effective. Still, it's more like the kind of impressive turn which sometimes acting students surprise us with - not necessarily the sign of a strong and lasting talent.
I saw Bob & Carol & Ted & Alice almost thirty years ago, and I should really see it again - if only to check if it has dated as badly as I fear. it was already a bit dated when I saw it actually, but it was still quite enjoyable and even funny at times - Dyan Cannon especially. The fact that she was attractive and often semi-naked in the movie might have had something to do with her nominstion, too.
Goldie Hawn has her fans and her detractors, and I agree that not all her movies are very good; but she had an undeniable talent for comedy (she HAS it actually, though now she can't move her face anymore), and you can see it - still rough maybe, as she was very young back then - in Cactus Flower; I can understand why they gave her the Oscar.
But I will give mine to Susannah York, one of the best element of one of the best movies of this year. There is something really tragic in that perfectly made-up, Jean-Harlow-like face slowly crumbling before our eyes till the final, unavoidable reakdown - nothing she had done before on the screen could prepare us for this kind of powerful performance (and it's not like she hadn't been good before). And while she may have been vocal against her Oscar nomination, she was still there on Oscar night, as we can see here:
http://www.youtube.com/watch?v=GVtKnZoKbjs
-
Big Magilla
- Site Admin
- Posts: 19336
- Joined: Wed Jan 01, 2003 3:22 pm
- Location: Jersey Shore
As quoted in Inside Oscar:flipp525 wrote:Didn't York disavow herself of all awards recognition, including the Academy's nomination, because she hadn't been asked?
"I felt a ghastly sickening thud when I got nominated and tried to get un-nominated. It angered me to be nominated without being asked. I was actually appalled. I don't think I have much of a chance and I didn't think that much of myself in it." as told to columnist Earl Wilson.
This was a dynamite year for supporting actresses.
Goldie Hawn is adorably peculiar in Cactus Flower, especially during that hapless failed suicide scene in the opening, but the shining star of that film will always be Ingrid Bergman who turns in a delightful Cinderella performance. Hawn's win this year had a "star of the moment" quality to it that now feels more portentous, given her later success, than actually earned on the basis of performance.
Sylvia Miles was so believable as a hooker in Midnight Cowboy that viewers, famously including legendary Barbara Stanwyck, thought she was a real prostitute. She certainly seems like one. It's a good, compact performance, quite brief, obviously believable, but it certainly doesn't merit consideration for the win in a year this strong.
Dyan Cannon is probably the best thing about Bob & Carol & Ted & Alice and this movie helped make her a star. But the film itself feels a little insubstantial and should would turn in even better work in the years to come.
And then there are the two broken spirit performances—one symbolized by a horse and the other a bird.
Catherine Burns' work as Rhoda in Last Summer is something of a master class in acting. Her monologue about her mother is so heartbreaking, so earnestly delivered, the entire thing spoken with a quiet, simmering ferocity, it makes what happens to her later in the film that much more devastating. I get shivers when I think of that trio—Barbara Hershey, Bruce Davison and Richard Thomas. Abominable characters. Burns would probably take this in a walk if more voters had seen her film.
For me, however, this race has always belonged to Susannah York, whose performance as the doomed Alice in They Shoot Horses, Don't They? is utterly sublime. There are the obvious standout scenes—the hasty, almost non-sexual seduction of Michael Sarrazin's character in the prop closet during a few stolen minutes during a Great Depression dance marathon, Alice's breakdown after Sailor's (Red Buttons) death during the tragic derby sequence and, of course, her terrifying scene in the showers. But then I think of the image of her alone and broken after her dress has been stolen, standing in a slip as the other contestants rush past her back to the dance floor as a siren shrieks in the background. It's an incredibly bleak movie, and the systematic deadening of Alice's spirit epitomizes so much of what makes Pollack's film a masterpiece. She gets my vote without a moment's hesitation.
Didn't York disavow herself of all awards recognition, including the Academy's nomination, because she hadn't been asked?
Edited By flipp525 on 1280552295
Goldie Hawn is adorably peculiar in Cactus Flower, especially during that hapless failed suicide scene in the opening, but the shining star of that film will always be Ingrid Bergman who turns in a delightful Cinderella performance. Hawn's win this year had a "star of the moment" quality to it that now feels more portentous, given her later success, than actually earned on the basis of performance.
Sylvia Miles was so believable as a hooker in Midnight Cowboy that viewers, famously including legendary Barbara Stanwyck, thought she was a real prostitute. She certainly seems like one. It's a good, compact performance, quite brief, obviously believable, but it certainly doesn't merit consideration for the win in a year this strong.
Dyan Cannon is probably the best thing about Bob & Carol & Ted & Alice and this movie helped make her a star. But the film itself feels a little insubstantial and should would turn in even better work in the years to come.
And then there are the two broken spirit performances—one symbolized by a horse and the other a bird.
Catherine Burns' work as Rhoda in Last Summer is something of a master class in acting. Her monologue about her mother is so heartbreaking, so earnestly delivered, the entire thing spoken with a quiet, simmering ferocity, it makes what happens to her later in the film that much more devastating. I get shivers when I think of that trio—Barbara Hershey, Bruce Davison and Richard Thomas. Abominable characters. Burns would probably take this in a walk if more voters had seen her film.
For me, however, this race has always belonged to Susannah York, whose performance as the doomed Alice in They Shoot Horses, Don't They? is utterly sublime. There are the obvious standout scenes—the hasty, almost non-sexual seduction of Michael Sarrazin's character in the prop closet during a few stolen minutes during a Great Depression dance marathon, Alice's breakdown after Sailor's (Red Buttons) death during the tragic derby sequence and, of course, her terrifying scene in the showers. But then I think of the image of her alone and broken after her dress has been stolen, standing in a slip as the other contestants rush past her back to the dance floor as a siren shrieks in the background. It's an incredibly bleak movie, and the systematic deadening of Alice's spirit epitomizes so much of what makes Pollack's film a masterpiece. She gets my vote without a moment's hesitation.
Didn't York disavow herself of all awards recognition, including the Academy's nomination, because she hadn't been asked?
Edited By flipp525 on 1280552295
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
-
Precious Doll
- Emeritus
- Posts: 4453
- Joined: Mon Jan 13, 2003 2:20 am
- Location: Sydney
- Contact:
A good selection by the Academy in 1969, not a dud amongst the nominees.
Some good news in relation to Last Summer for those who never seen it and those who would like to revisit it, Warner Bros. have apparently announced in a newsletter that Last Summer is coming soon through the Archives collection.
My choices for 1969 are:
1. Susannah York for They Shoot Horses Don’t They?
2. Petula Clarke for Goodbye Mr. Chips
3. Diana Rigg for On Her Majesty's Secret Service
4. Ingrid Thulin for The Damned
5. Sylvia Miles for Midnight Cowboy
Some good news in relation to Last Summer for those who never seen it and those who would like to revisit it, Warner Bros. have apparently announced in a newsletter that Last Summer is coming soon through the Archives collection.
My choices for 1969 are:
1. Susannah York for They Shoot Horses Don’t They?
2. Petula Clarke for Goodbye Mr. Chips
3. Diana Rigg for On Her Majesty's Secret Service
4. Ingrid Thulin for The Damned
5. Sylvia Miles for Midnight Cowboy
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)