Simone Signoret in "Casque d'Or"

by Eric Blume

Today is the centennial of French Oscar-winner Simone Signoret.  Daniel paid lovely tribute to her last night for her brief role in 1950's La Ronde.  Her next big film, director Jacques Becker's 1952 movie Casque d'Or, made her a star six years before Oscar embraced her with Room at the Top. Becker captures all of Signoret's magic in this turn-of-the-century Paris underworld story.  It doesn't hurt that he has his cinematographer, Robert Le Febvre, lighting her in a gloriously celestial way throughout the movie...

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Joan Crawford's long road to Oscar

by Cláudio Alves

I make no secret that I'm a Joan Crawford fan. After all, I've already waxed poetic about the star's stellar 1947 and her turn in What Ever Happened to Baby Jane?. However, I've never written about Crawford's career pre-Oscar win. Since we're celebrating 75 years since that victory, it feels like an appropriate time to examine the actress' long road to Oscar, the misconceptions about her legacy, the complexities of her contemporary popularity. If you want to read more about the 18th Academy Awards, check out Baby Clyde's wonderful overview of the ceremony and the race for gold. Now, it's time to focus solely on that year's Best Actress champion…

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75th Anniversary: The 1945 Oscars Revisited

by Baby Clyde

Bob Hope and the 1945 winners

The war was over and finally Hollywood could get around to more important matters like giving Joan Crawford an Oscar.

It had been a pared down ceremony for the preceding few years with tuxes and ballgowns discouraged. Even the statuette itself had been made from plaster rather than gold plated bronze but at the 18th Academy Awards, which took place at Graumann’s Chinese Theatre 75 years ago today, the glamour was back and there was no one more glamorous in town than 20 year veteran Joan. She skipped the ceremony...

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Over & Overs: Amadeus (1984)

by Cláudio Alves

To celebrate the recent centennial of sound mixer turned movie producer Saul Zaentz, I decided to revisit my favorite of his projects, the glorious marvel that is Amadeus (the second of his three Best Picture winners). On paper, the movie may sound like the most airless and insufferable of Oscar champions. It's a musician's biopic, probably my least favorite of prestige subgenres, whose take on history is closer to feverish invention than thoughtful analysis. With a theatrical cut running for nearly three hours, the movie's a behemoth of excess in a decade when the Academy was prone to shower such things with undeserved accolades. Nevertheless, I find myself besotted by Milos Forman's 1984 Best Picture winner, its meditations on mediocrity and spiritual discontentment, its celebration of opera, the lushness of its emotions...

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Giulietta Masina @ 100: Cabiria's perfect ending

by Cláudio Alves

Born 100 years ago in San Giorno di Piano, Giulietta Masina is one of the most indelible faces of Italian cinema. She started her career as a theatre and radio actress but, by the time her husband Federico Fellini made the transition from screenwriter to film director, Masina was ready to follow him on the journey to the big screen. Despite having worked for other such notable auteurs as Rossellini and Wertmüller, Masina's legacy is defined by her husband's pictures. He immortalized her in more ways than one, both creating film monuments to her humanity, and using their marital strife to create many a celluloid drama...

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