[PO] Penelope's Elimination Game
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FilmFan720
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Well, this is a strong category, and a rare one in that I have read 3 of the 5 source materials. No Country is a winner that I can not argue with, but there was little actual adaptation done. It follows the cinematic feel of the book almost identically, and I don't feel bad taking this Oscar away from my beloved Coen Brothers.
Atonement is a strong adaptation, taking a book I did not find filmmable in any way and making it a strong cinematic piece. I have also read the story Away from Her is based on (I am blanking on its name...I don't think it was the same), and there Sarah Polley took a strong short story and expanded it in lovely ways. The other two films are not "writer's films," and I think their strengths and beauty were created in the directors chair.
I am going to give this to Away from Her. It took the hardest of a series of difficult pieces to adapt and made one of my favorite films of the year.
Sabin: Song 1976
Atonement is a strong adaptation, taking a book I did not find filmmable in any way and making it a strong cinematic piece. I have also read the story Away from Her is based on (I am blanking on its name...I don't think it was the same), and there Sarah Polley took a strong short story and expanded it in lovely ways. The other two films are not "writer's films," and I think their strengths and beauty were created in the directors chair.
I am going to give this to Away from Her. It took the hardest of a series of difficult pieces to adapt and made one of my favorite films of the year.
Sabin: Song 1976
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Big Magilla
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Just caught up with this. Since I don't play this game I rarely check here.
In the old days the breakdown between Original Story, Story and Sreenplay, Screenplay meant this:
Original Story - a treatment or outline presented to the studio head for greenlighting.
Story and Screenplay - Original story and screenplay by the same writers.
Screenplay - Adapted either from a previously published source (e.g. book, play) or from an original story written by someone else.
Edited By Big Magilla on 1249006539
In the old days the breakdown between Original Story, Story and Sreenplay, Screenplay meant this:
Original Story - a treatment or outline presented to the studio head for greenlighting.
Story and Screenplay - Original story and screenplay by the same writers.
Screenplay - Adapted either from a previously published source (e.g. book, play) or from an original story written by someone else.
Edited By Big Magilla on 1249006539
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HarryGoldfarb
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Point has been proven. No discussion on the discussion board... just an answer and let's keep the thing goin' on.
Adam's Rib takes the award. So, Ruth Gordon takes her second PenelopOscar.
FilmFan... Adapted Screenplay 2007
Adam's Rib takes the award. So, Ruth Gordon takes her second PenelopOscar.
FilmFan... Adapted Screenplay 2007
"If you place an object in a museum, does that make this object a piece of art?" - The Square (2017)
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HarryGoldfarb
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WRITING (Story and Screenplay)
Adam's Rib -- Ruth Gordon, Garson Kanin
Caged -- Virginia Kellogg, Bernard C. Schoenfeld
The Men -- Carl Foreman
No Way Out -- Joseph L. Mankiewicz, Lesser Samuels
* Sunset Blvd. -- Charles Brackett, Billy Wilder, D. M. Marshman, Jr.
Incredibly interesting. Lately, I've been thinking that while my interest in the Oscar is growing thinner each year, it still stands up as a good indicator of what films I should watch from decades ago. And at the same time, I was wondering when would the board become more interesting than it actually is right now. We are apparently kind of active around these games, but the other polls (with the esception of the trendy film or the trendy award) are done after three or four posts. No curiousitys to find out (everything is on the net nowdays) and the interesting old arguments are so passe. We know each other, and we like each other (even those that supposedly fight each other time after time), but we are so quite that this is almost like sedative.
But now, through this same game I routinely try to catch up ev'ry time I got connected, even if it's getting less and less interesting (specially considering what Flipp just said, we just give an answer, not even a single opinion beyond "that's the clearly deserving choice"), I remembered a very old question I have had in mind and that always slips trhough my intentions to ask.
I never have completely understood the divisions of the writing categories around those times: motion picture story/screnplay/story and screenplay...
What did this mean?
I guess the first one must have been an original story, good enough to make an interesting film out of it, but not necessarily well written or accomplished in terms of writing. I guess it referes to a concept.
The screenplay could have been pretty much what it is now. The final version, what we see on screen. The dramaturgical work, the dialogues, the rythm...
But story AND screenplay... that should have been the big award of them. The concept really really well done. But how come these categories were mutually exclusive? A film nominated in the third one could have been elegible in at least one of the other two. Or not? Can somebody plase explain this to me in order for me to give a decent answer?
By the way, as usual with older categories, I haven't seen the majority of the nominees: not Caged, nor The Men and neither No Way Out. As a film, I found Sunset Boulevard to be almost miraculous and Adam's Rib is a favorite of mine. Still I'd like to understand more what was the division meant to be. Thanks in advanse and sorry for putting the game on hold.
Adam's Rib -- Ruth Gordon, Garson Kanin
Caged -- Virginia Kellogg, Bernard C. Schoenfeld
The Men -- Carl Foreman
No Way Out -- Joseph L. Mankiewicz, Lesser Samuels
* Sunset Blvd. -- Charles Brackett, Billy Wilder, D. M. Marshman, Jr.
Incredibly interesting. Lately, I've been thinking that while my interest in the Oscar is growing thinner each year, it still stands up as a good indicator of what films I should watch from decades ago. And at the same time, I was wondering when would the board become more interesting than it actually is right now. We are apparently kind of active around these games, but the other polls (with the esception of the trendy film or the trendy award) are done after three or four posts. No curiousitys to find out (everything is on the net nowdays) and the interesting old arguments are so passe. We know each other, and we like each other (even those that supposedly fight each other time after time), but we are so quite that this is almost like sedative.
But now, through this same game I routinely try to catch up ev'ry time I got connected, even if it's getting less and less interesting (specially considering what Flipp just said, we just give an answer, not even a single opinion beyond "that's the clearly deserving choice"), I remembered a very old question I have had in mind and that always slips trhough my intentions to ask.
I never have completely understood the divisions of the writing categories around those times: motion picture story/screnplay/story and screenplay...
What did this mean?
I guess the first one must have been an original story, good enough to make an interesting film out of it, but not necessarily well written or accomplished in terms of writing. I guess it referes to a concept.
The screenplay could have been pretty much what it is now. The final version, what we see on screen. The dramaturgical work, the dialogues, the rythm...
But story AND screenplay... that should have been the big award of them. The concept really really well done. But how come these categories were mutually exclusive? A film nominated in the third one could have been elegible in at least one of the other two. Or not? Can somebody plase explain this to me in order for me to give a decent answer?
By the way, as usual with older categories, I haven't seen the majority of the nominees: not Caged, nor The Men and neither No Way Out. As a film, I found Sunset Boulevard to be almost miraculous and Adam's Rib is a favorite of mine. Still I'd like to understand more what was the division meant to be. Thanks in advanse and sorry for putting the game on hold.
"If you place an object in a museum, does that make this object a piece of art?" - The Square (2017)
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Cinemanolis
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Song 1950
'Mona Lisa' clearly deserves this, but it won't get my last pass. I couldn't find 'Mule Train', and the other 3 (Wilhelmina, Be My Love, Bibbidy-Bobbidi-Boo) seem equally dated to me. I don't really care, so "Be My Love" gets it.
Harry Goldfarb: same year "Best Writing, Story and Screenplay" 1950
'Mona Lisa' clearly deserves this, but it won't get my last pass. I couldn't find 'Mule Train', and the other 3 (Wilhelmina, Be My Love, Bibbidy-Bobbidi-Boo) seem equally dated to me. I don't really care, so "Be My Love" gets it.
Harry Goldfarb: same year "Best Writing, Story and Screenplay" 1950
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OscarGuy
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Fairly easy one for me as I was rooting for Again at the time. Although I like Streets of Philadelphia more than I did then, I'll still give it to Again.
mrlg: Original Song '65
mrlg: Original Song '65
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The Original BJ
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Hmmm....
I haven't seen Erwin or Tamiroff. I read somewhere that Erwin's lead in Pigskin Parade anyway, so I wouldn't go for him (lead in support? I wonder, have we had that debate before?)
I'm taking it away from Brennan. I know he was one of those stalwart extras-become-character-actor and had a lot of support because of it, but I've seen a number of his films and he lifts right out.
So it's between Rathbone and Auer. I'm loathe to give anything to the dire Romeo and Juliet. On the other hand, I have no problem giving another oscar to My Man Godfrey, giving it it's third acting Peneloscar in Auer.
Oscarguy, tackle 1993's Best Original Song category.
I haven't seen Erwin or Tamiroff. I read somewhere that Erwin's lead in Pigskin Parade anyway, so I wouldn't go for him (lead in support? I wonder, have we had that debate before?)
I'm taking it away from Brennan. I know he was one of those stalwart extras-become-character-actor and had a lot of support because of it, but I've seen a number of his films and he lifts right out.
So it's between Rathbone and Auer. I'm loathe to give anything to the dire Romeo and Juliet. On the other hand, I have no problem giving another oscar to My Man Godfrey, giving it it's third acting Peneloscar in Auer.
Oscarguy, tackle 1993's Best Original Song category.
The Original BJ wrote:Whoever's next, take (and by take, I mean correct) Best Actress 1936.
Luise Rainer's performance in The Great Ziegfield is clearly supporting and you could also make the argument that she is overshadowed by Myrna Loy in the same picture. Her scene on the phone is admittedly wonderful, but I really have no problem yanking this one from her as I doubt many on this board would.
Unfortunately, I've never seen Valiant is the Word for Carrie so I can't consider Gladys George, as good as she may be in it. And from the premise alone, it sounds like a movie I'd love. The homely Norma Shearer (yep, I'll say it) is too old to play Shakespeare's Juliet and it's a fussy, unsexy, almost bothersome performance. Her acting style only worked for me in couple films, namely, Their Own Desire, The Barretts of Wimpole Street and, of course, The Women where she couldn't have been more perfectly cast.
So it's a toss-up between Irene Dunne for her delightful performance as a woman who writes in secret and decides to finally let her hair down and be herself in Theodora Goes Wild and the great Carole Lombard as the zany rich girl who takes home a "forgotten man", makes him into the family butler and learns a little something about class along the way. The latter is Lombard's best work and the film itself is an absolute gem, one of the best of the '30's. I'll give her the PenelopOscar.
Okri, let's stick with this year and do Supporting Actor '36.
p.s. Part of the reason it took me so long to respond to this turn was that I wanted to give a thoughtful, detailed post about my reasoning and decision in choosing Lombard. Not simply toss a bunch of nominees on the wall and pick one with zero explanation.
Edited By flipp525 on 1248103341
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