All hail The Prince of Darkness!

by Cláudio Alves

In the annals of American film history, you'll have difficulty finding a filmmaker as influential as Gordon Willis. He's one of the best cinematographers that's ever lived, a man who almost single-handedly invented the look we most quickly associate with the great cinema of the 70s. Low-lit and underexposed, his pictures were rich in shadow play and gloomy frames, a materialization of the decades' paranoia and moral ambiguities. Because of such a characteristic style, he gained the nickname 'prince of darkness,' though maybe we should have called him the king of cinematographers. Both titles feel correct…

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April Foolish Predix Pt 4: Best Picture Contenders?

We'll finish up our April Foolish' work with the acting categories this week but for now all the other pieces of the prophetic (or not) puzzle are in place. You can see it all at the Prediction Index. We're usually about half right about Best Picture this early on but... which half? And of course this year is wildly different. It's the only time we've ever had a nationwide movie theater shutdown. Georgia plans to reopen movie theaters this month (medical experts think any such reopenings of crowd venues are premature) but most States aren't eager to risk it just yet.

About the current crisis and the Oscars....

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70s Fashion on Criterion

by Cláudio Alves

The relationship between fashion and cinema is a complex one, with influence going both ways. Sometimes, runway shows take their cues from the glory of the silver screen, while costume designers can find inspiration on the pages of Vogue. In cases such as the collaboration between Audrey Hepburn, Edith Head and Hubert de Givenchy, it's a multifaceted symbiosis where couture and cinema walk hand in hand to the benefit of both. These dynamics aren't exclusive to the Golden Age of Hollywood and the big studios, of course. Just look at the great style icons of the 70s moviedom...

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Almost There: Madeline Kahn in "What's Up, Doc?"

by Cláudio Alves

There's a generalized belief that the Oscars are allergic to comedy. While that's not completely accurate, there's a kernel of truth in the statement. The Academy tends to prefer weighty dramas that signal their importance instead of light comedy. Considering the inherent subjectivity of humor and the way people tend to rile against any comedic Oscar champion (Birdman, The Artist, Shakespeare in Love, etc.), it's easy to understand why so few funny pictures get the most desired golden statuettes in Hollywood. Even this very series has been guilty of overlooking great comedic performances and focusing mostly on heavyweight drama, preferring tears to guffaws.

Well, it's time to change that and there's no better way to do it than by examining the hilarity of one of cinema's funniest women in one of New Hollywood's greatest farces. We're talking about the inimitable Madeline Kahn in What's Up, Doc?…

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"Patton" opened 50 years ago today

by Nathaniel R

Here's a timeline to marvel at. The war biopic Patton (1970) opened a half century ago today. The following Monday the Oscars celebrating 1969 were held. And an an entire year and a fortnight later, Patton would win Best Picture at the following Oscars. Isn't it crazy how slowly the movie world buzz used to turn? Now Hollywood never dreams of launching its big Oscar intendeds in the spring (not that they could at the moment but you understand). The only time we witnessed a long stretch from release to Oscar win like this in our moviegoing lifetimes was The Silence of the Lambs which won the Oscar in March 1992, a year and a month and a half after its initial release. 

Which nominee would you have voted for in 1970?

• Airport
• Five Easy Pieces
• Love Story
• MASH
• Patton

We would've been a MASH voter among those five but that's not a stellar vintage. We assume that Women in Love was in the dread sixth spot.