1963 Convo Pt 2: Lilies of the Field
Tuesday, August 15, 2017 at 6:00PM 
Previously, in this '63 Party:
The Supporting Actress Smackdown
Podcast Conversation Part 1
To close out our little Oscar 1963 celebration, Nathaniel talks Lilies of the Field and more with this month's panel: Teo Bugbee, Keiran Scarlett, Séan McGovern, and Brian Mullin.
Smackdown '63 Companion Podcast Part 2
(42 minutes)
In which we wrap up our discussion of big budget airport trifle The VIPs. Then the panel has differing opinions on the merits of the classic feelgood Lilies of the Field. Also up for discussion: Sidney Poitier's unique spot in Hollywood history, Denzel Washington comparisons, and an aside to Alfred Hitchcock and The Birds. And, as we say our goodbyes, we each offer up one must-see film from 1963 that we hope you'll watch.
You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you?
Reader Comments (17)
These podcasts are always my favorite, and this is another winner!
I too love Hud. I named my car Patricia Neal in tribute to her performance in it. A favorite movie of 1963 that wasn't mentioned is Charade, which is just about as fun a movie as can be.
My choice for a supporting actress from The Birds would actually have been Suzanne Pleshette, who kind of steals the movie any time she is on screen. I also have a great fondness for Barbara Steele in 8 1/2, small as her part may be.
Poitier made two movies with River Phoenix -- Little Nikita (1989) and Sneakers (1992).
Washington is offered racially neutral scripts. Racially neutral meaning parts written for a white actor which never makes mention of whiteness therefore they can offer it to him. He also barks at any attempt to racialize his character on paper. What does happen is the actors cast to play his family are usually always black. So when Washington books a movie other black performers get phone calls to fill out parts that would have been thankless roles for white performers.
I'm so curious to watch more 1963 films after this but thank you, thank you Kieran for stanning Jessica Tandy in The Birds. She's so exquisite in that film!
It felt weird. It's the most I've ever said (and I suspect I ever will say) the words "Jessica Tandy should have been nominated."
Oh same. Driving Miss Daisy's always gonna be a mystery. But at least here she totally deserves it.
That's an interesting point you bring up, artful. And I wish I had had the presence of mind to bring up Paul Winfeld as a counterpoint. Granted he came after Poitier in terms of career and awards attention, but he was more political, not as classically handsome as Poitier an that definitely put limitations on his ability to replicate Poitier's level of success.
Paul was a glass closet case. So despite not having the looks he was vulnerable to the politics that comes with hiring a black performer who does not align with alpha male bravado stereotype. Based on the quality of his audition he could have played the Billy Dee Williams role in Lady Sings The Blues according to Barry Gordy on the DVD audio commentary.
On Ghost Dad, there is an alternate version of a seduction scene featured in the final movie between Cosby and his love interest. Where in the original version she has taken off her blouse. Cosby considered this too risque for a family movie. But the scene was shown uncut during a daytime talk show in promotion for the movie. I don't believe anyone has uploaded this to You Tube. But I never forgot it.
PICTURE:
1. „IL GATTOPARDO“ (Italien)
2. „LE MÉPRIS“ (Frankreich)
3. „OTTO E MEZZO“ (Italien)
4. „LE FEU FOLLET“ (Frankreich)
5. „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
6. „THE SERVANT“ (Großbritannien)
7. „PASAŽERKA“ (Polen)
8. „AMERICA, AMERICA“ (USA)
9. „KHANEH SIAH AST“ (Iran)
10. „HUD“ (USA)
11. „L'AÎNÉ DES FERCHAUX“ (Frankreich)
12. „NATTVARDSGÄSTERNA“ (Schweden)
13. „I FIDANZATI“ (Italien)
14. „TYSTNADEN“ (Schweden)
15. „YUKINOJÔ HENGE“ (Japan)
ACTOR:
1. Maurice Ronet in „LE FEU FOLLET“ (Frankreich)
2. Dirk Bogarde in „THE SERVANT“ (Großbritannien)
3. Burt Lancaster in „IL GATTOPARDO“ (Italien)
4. Richard Harris in „THIS SPORTING LIFE“ (Großbritannien)
5. Paul Newman in „HUD“ (USA)
6. Marcello Mastroianni in „OTTO E MEZZO“ (Italien)
7. Gunnar Björnstrand in „NATTVARDSGÄSTERNA“ (Schweden)
8. Rod Steiger in „LE MANI SULLA CITTÀ “ (Italien)
9. Albert Finney in „TOM JONES“ (Großbritannien)
10. Toshirô Mifune in „TENGOKU TO JIGOKU“ (Japan)
11. Marcello Mastroianni in „I COMPAGNI“ (Italien)
12. Donald Pleasence in „THE CARETAKER“ (Großbritannien)
13. Charles Vanel in „L'AÎNÉ DES FERCHAUX“ (Frankreich)
14. Jean-Paul Belmondo in „L'AÎNÉ DES FERCHAUX“ (Frankreich)
15. Claude Mann für „LA BAIE DES ANGES“ (Frankreich)
ACTRESS:
1. Ingrid Thulin in „TYSTNADEN“ (Schweden)
2. Rachel Roberts in „THIS SPORTING LIFE“ (Großbritannien)
3. Delphine Seyrig in „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
4. Sachiko Hidari in „KANOJO TO KARE“ (Japan)
5. Ingrid Thulin in „NATTVARDSGÄSTERNA“ (Schweden)
6. Jeanne Moreau in „LA BAIE DES ANGES“ (Frankreich)
7. Sachiko Hidari in „NIPPON KONCHÛKI“ (Japan)
8. Gunnel Lindblom in „TYSTNADEN“ (Schweden)
9. Madhabi Mukherjee in „MAHANAGAR“ (Indien)
10. Natalie Wood in „LOVE WITH THE PROPER STRANGER“ (USA)
11. Marina Vlady in „UNA STORIA MODERNA: L'APE REGINA“ (Italien)
12. Julie Harris in „THE HAUNTING“ (Großbritannien)
13. Silvana Mangano in „IL PROCESSO DI VERONA“ (Italien)
14. Claudia Cardinale in „IL GATTOPARDO“ (Italien)
15. Brigitte Bardot in „LE MÉPRIS“ (Frankreich)
SUPPORTING ACTOR:
1. Melvyn Douglas in „HUD“ (USA)
2. James Fox in „THE SERVANT“ (Großbritannien)
3. Gregory Rozakis in „AMERICA, AMERICA“ (USA)
4. Armin Mueller-Stahl in „NACKT UNTER WÖLFEN“ (DDR)
5. Bruce Ritchey in „A CHILD IS WAITING“ (USA)
6. Brandon De Wilde in „HUD“ (USA)
7. Max von Sydow in „NATTVARDSGÄSTERNA“ (Schweden)
8. William Hartnell in „THIS SPORTING LIFE“ (Großbritannien)
9. Alan Bates in „THE CARETAKER“ (Großbritannien)
10. Jack Palance in „LE MÉPRIS“ (Frankreich)
11. Paul Mann in „AMERICA, AMERICA“ (USA)
12. Robert Shaw in „THE CARETAKER“ (Großbritannien)
13. Tsutomu Yamazaki in „TENGOKU TO JIGOKU“ (Japan)
14. Keve Hjelm in „KVARTERET KORPEN“ (Schweden)
15. Tatsuya Nakadai in „TENGOKU TO JIGOKU“ (Japan)
SUPPORTING ACTRESS:
1. Patricia Neal in „HUD“ (USA)
2. Julie Christie in „BILLY LIAR“ (Großbritannien)
3. Anouk Aimée in „OTTO E MEZZO“ (Italien)
4. Alexandra Stewart in „LE FEU FOLLET“ (Frankreich)
5. Sandra Milo in „OTTO E MEZZO“ (Italien)
6. Anna Ciepielewská in „PASAŽERKA“ (Polen)
7. Linda Marsh in „AMERICA, AMERICA“ (USA)
8. Wendy Hiller in „TOYS IN THE ATTIC“ (USA)
9. Sarah Miles in „THE SERVANT“ (Großbritannien)
10. Claire Bloom in „THE HAUNTING“ (Großbritannien)
11. Jeanne Moreau in „LE FEU FOLLET“ (Frankreich)
12. Gunnel Lindblom in „NATTVARDSGÄSTERNA“ (Schweden)
13. Rina Morelli in „IL GATTOPARDO“ (Italien)
14. Joyce Redman in „TOM JONES“ (Großbritannien)
15. Wendy Craig in „THE SERVANT“ (Großbritannien)
DIRECTOR:
1. Luchino Visconti für „IL GATTOPARDO“ (Italien)
2. Jean-Luc Godard für „LE MÉPRIS“ (Frankreich)
3. Federico Fellini für „OTTO E MEZZO“ (Italien)
4. Joseph Losey für „THE SERVANT“ (Großbritannien)
5. Louis Malle für „LE FEU FOLLET“ (Frankreich)
6. Alain Resnais für „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
7. Elia Kazan für „AMERICA, AMERICA“ (USA)
8. Andrzej Munk für „PASAŽERKA“ (Polen)
9. Martin Ritt für „HUD“ (USA)
10. Forugh Farrokhzad für „KHANEH SIAH AST“ (Iran)
11. Ermanno Olmi für „I FIDANZATI“ (Italien)
12. Ingmar Bergman für „NATTVARDSGÄSTERNA“ (Schweden)
13. Jean-Pierre Melville für „L'AÎNÉ DES FERCHAUX“ (Frankreich)
14. Ingmar Bergman für „TYSTNADEN“ (Schweden)
15. Kon Ichikawa für „YUKINOJÔ HENGE“ (Japan)
SCREENPLAY ADAPTED:
1. Harold Pinter für „THE SERVANT“ (Großbritannien)
2. Irving Ravetch und Harriet Frank Jr. für „HUD“ (USA)
3. Louis Malle für „LE FEU FOLLET“ (Frankreich)
4. Suso Cecchi D'Amico, Pasquale Festa Campanile, Enrico Medioli, Massimo Franciosa und Luchino Visconti für „IL GATTOPARDO“ (Italien)
5. Jean-Luc Godard für „LE MÉPRIS“ (Frankreich)
SCREENPLAY ORIGINAL:
1. Federico Fellini, Ennio Flaiano, Tullio Pinelli und Brunello Rondi für „OTTO E MEZZO“ (Italien)
2. Jean Cayrol für „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
3. Elia Kazan für „AMERICA, AMERICA“ (USA)
4. Harold Pinter für „THE CARETAKER“ (Großbritannien)
5. Ermanno Olmi für „I FIDANZATI“ (Italien)
CINEMATOGRAPHY COLOR:
1. Giuseppe Rotunno für „IL GATTOPARDO“ (Italien)
2. Raoul Coutard für „LE MÉPRIS“ (Frankreich)
3. Setsuo Kobayashi für „YUKINOJÔ HENGE“ (Japan)
4. Sacha Vierny für „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
5. Jean Badal für „UN ROI SANS DIVERTISSEMENT“ (Frankreich)
CINEMATOGRAPHY B/W:
Gianni Di Venanzo für „OTTO E MEZZO“ (Italien)
Douglas Slocombe für „THE SERVANT“ (Großbritannien)
Haskell Wexler für „AMERICA, AMERICA“ (USA)
Ghislain Cloquet für „LE FEU FOLLET“ (Frankreich)
James Wong Howe für „HUD“ (USA)
ART DIRECTION COLOUR:
1. Mario Garbuglia, Laudomia Hercolani und Giorgio Pes für „IL GATTOPARDO“ (Italien)
2. „LE MÉPRIS“ (Frankreich)
3. Yoshinobu Nishioka für „YUKINOJÔ HENGE“ (Japan)
4. Philippe Ancellin für „UN ROI SANS DIVERTISSEMENT“ (Frankreich)
5. Jacques Saulnier für „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
ART DIRECTION B/W:
1. Piero Gherardi für „OTTO E MEZZO“ (Italien)
2. Gene Callahan für „AMERICA, AMERICA“ (USA)
3. Richard Macdonald und Ted Clements für „THE SERVANT“ (Großbritannien)
4. Tambi Larsen, Hal Pereira, Robert Benton und Sam Comer für „HUD“ (USA)
5. Yoshirô Muraki für „TENGOKU TO JIGOKU“ (Japan)
COSTUME DESIGN COLOUR:
1. Piero Tosi für „IL GATTOPARDO“ (Italien)
2. Yoshio Ueno für „YUKINOJÔ HENGE“ (Japan)
3. John McCorry für „TOM JONES“ (Großbritannien)
4. Madeleine Nicolas für „UN ROI SANS DIVERTISSEMENT“ (Frankreich)
5. Tanine Autré für „LE MÉPRIS“ (Frankreich)
COSTUME DESIGN B/W:
1. Piero Gherardi für „OTTO E MEZZO“ (Italien)
2. Anna Hill Johnstone für „AMERICA, AMERICA“ (USA)
3. Bernard Evein für „LA BAIE DES ANGES“ (Frankreich)
4. Christiane Courcelles für „JUDEX“ (Frankreich)
5. Piero Tosi für „I COMPAGNI“ (Italien)
SCORE:
1. Georges Delerue für „LE MÉPRIS“ (Frankreich)
2. Nino Rota für „OTTO E MEZZO“ (Italien)
3. Nino Rota für „IL GATTOPARDO“ (Italien)
4. Hans Werner Henze für „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
5. Erik Satie / Einspielung: Claude Helffer für „LE FEU FOLLET“ (Frankreich)
6. John Dankworth für „THE SERVANT“ (Großbritannien)
7. Georges Delerue für „L'AÎNÉ DES FERCHAUX“ (Frankreich)
8. Tamekichi Mochizuki und Masao Yagi für „YUKINOJÔ HENGE“ (Japan)
9. Michel Legrand für „LA BAIE DES ANGES“ (Frankreich)
10. Piero Piccioni für „LE MANI SULLA CITTÀ“ (Italien)
EDITING:
1. Mario Serandrei für „IL GATTOPARDO“ (Italien)
2. Kenout Peltier und Eric Pluet für „MURIEL, OU LE TEMPS D'UN RETOUR“ (Frankreich)
3. Agnès Guillemot für „LE MÉPRIS“ (Frankreich)
4. Leo Cattozzo für „OTTO E MEZZO“ (Italien)
5. Suzanne Baron für „LE FEU FOLLET“ (Frankreich)
6. Mario Serandrei für „LE MANI SULLA CITTÀ“ (Italien)
7. Shigeo Nishida für „YUKINOJÔ HENGE“ (Japan)
8. Dede Allen für „AMERICA, AMERICA“ (USA)
9. Reginald Mills für „THE SERVANT“ (Großbritannien)
10. Frank Bracht für „HUD“ (USA)
Great listen, as always!
I love when you sneeze while the others are discussing divine intervention and no one cares to say "Bless you"
I would watch Lilies again tonight, you know. It's like a hot bath after a long day on Twitter.
I wish we had more time to discuss Patricia's Oscar win.
Peggy Sue -- good point. now i am retroactively put out by their godlessness ;)
Thomas okay i'll play i think i'd go like so
PICTURE
HUD (US)
YESTERDAY, TODAY, AND TOMORROW (ITALY)
BAY OF ANGELS (FRANCE)
8½ (ITALY)
THE BIRDS (US)
DIRECTOR
Ritt, Hud
Hitchcock, The Birds
Wise, The Haunting
Demy, Bay of Angels
Fellini, 8/12
ACTRESS
Neal, Hud
Wood, Love with the Proper Stranger
Loren, Yesterday Today and Tomorrow
Garland, I Could Go On Singing
Moreau, Bay of Angels
ACTOR
Newman, Hud
Poitier, Lilies of the Field
Finney, Tom Jones
...and i'd definitely have to see more male-led movies this year to fill this out
SUPPORTING ACTRESS
god who knows right...?
Evans, Tom Jones
Aimee, 8 1/2
and then...?????????????
SUPPORTING ACTOR
Douglas, Hud
i clearly need to see more 1963 movies!
Justice for Hud, 8 1/2 and The Birds (plus Charade)! Completely agree that Rutherford was likable but Smith was better and neither needed nods. My personal pick would be Ethel Merman's ridiculous over-the-top turn in It's a Mad Mad Mad Mad World, which always made me laugh hysterically.
My father always wanted us to watch "important" films when we were children, so I am glad that I saw Lilies of the Field and In the Heat of the Night as a child. Unfortunately, I hardly remember anything about them! The only part of Lilies I remember is him correcting the nuns' "Ah-men" into "Ay-men!
@ Will H - Agree with the Charade mention - such a delight to watch. Have you ever seen Arabesque? - A sort of sequel to Charade with same behind the scenes talent. Sophia Loren's never been more beautiful!
I was disappointed that there wasn't more of a discussion of Lilia Skala's performance, but also her career. She was Austria's first female architect and then became an actress before she and her Jewish husband managed to flee Nazi-occupied Austria. She immigrated to the U.S. and worked in New York's garment district while learning English before eventually gaining steady employment on stage, on television, and eventually in film by recreating her Broadway role of Grand Duchess Sophie in Call Me Madam in the film version. After Lilies of the Field, she had memorable roles in Ship of Fools and Charly, as well as on television on the Alfred Hitchcock Hour and The Name of the Game, along with several other nun roles in between. And in her later career, she managed to get an Emmy nomination for Eleanor and Franklin, solid roles in Deadly Hero, Roseland, and Heartland, and a return to Broadway in The Survivor, before a role in Flashdance of all things, all steady work with the strong Austrian accent she never lost. She made it to 98 and years later her granddaughter Libby wrote and performed a play about her around the world to sold-out houses around the world. She deserves to be remembered.
To what extent do you think this year's winner was a result of vote splitting?