The Supporting Actress Smackdown of '63 is just 3 days away. So it's time to get your votes in on the nominees that year. Readers, collectively, are the final panelist, so grade the nominees (only the ones you've seen) from 1 to 5 hearts. Your votes count toward the smackdown win!
Diane Cilento Tom JonesEdith Evans Tom Jones
Joyce Redman Tom Jones
Margaret Rutherford The VIPs
Lilia Skala Lilies of the Field
Now that we're finally getting to this long delayed Smackdown. It's time to meet this month's talking heads...
THE PANEL
Seán McGovern and Brian Mullin
An Irishman and an American based in London, Seán McGovern and Brian Mullin are the hosts of Broad Appeal, the podcast that looks back at female-driven films from the not-so-distant past. Seán is a film festival programmer with Fringe! Queer Film & Arts Fest and has also worked for the BFI and the National Film and Television School. His mustache was once complimented by Wallace Shawn. Brian is a playwright, dramaturg and community activist; he's wedded to the theatre but still fools around with the movies. Their latest podcast series dissected 12 book-to-film adaptations (everything from Yentl to Jackie Brown) and they once saw Isabelle Huppert twice in two days! [Follow them @broadappealpod, @bamullinspeaks, @seanmcgovernx]
What does 1963 mean to you, guys?
To us, 1963 seems like the year things fell apart. The summer started with hope: JFK retraced his roots in Ireland and Martin Luther King led the March on Washington (with activists and many film stars in tow). By the end of the year, though, fatal shots had been fired in Dealey Plaza, and the the studio system was on life support following the bloated release of Liz & Dick's Cleopatra. The upheaval of the 60s was only just beginning; no wonder The Birds started attacking Tippi Hedren.
Teo Bugbee
Longtime Film Experience reader, Teo Bugbee is a culture writer, bylines found at The Daily Beast, MTV News, and The New York Times. In her time off from watching movies, she union agitates, gay organizes…and watches more movies. [Follow her @tmibugbee]
What does 1963 mean to you, Teo?
1963 was the year my mom was born, a classic Pisces in the year of the Rabbit. 1963 was the year of the Taylor-Burton affair, a formative obsession of my youth. 1963 was the year of my favorite Natalie Wood performance, in Love With A Proper Stranger. It's the year of The Feminine Mystique and the year Ann-Margret declared it lovely to be a woman, two statements of equal weight as far as I can tell. In my mind, 1963 is the year when the '60s stopped being an extension of the decade prior, and started to take on its own character as the decade for all things uncouth, dissatisfied, and misunderstood.
Kieran Scarlett
Kieran is a Canadian expat whose love affair with movies began with Judy Garland and Julie Andrews. He thanks his older brother for his film fanaticism and apologizes profusely for dragging him to see Cold Mountain on opening weekend because "people in it might get nominated for stuff." He received his MFA in writing from the American Film institute. He spends a lot of time thinking about the 1974 Best Actress race, admiring Dorothy Malone's mambo skills and longing for the return of Holly Hunter. Kieran can be found in Los
Angeles, writing, working on movies and searching for the perfect arthouse theater with good parking. [Follow him @danblackroyd]
What does 1963 mean to you, Kieran?
Being that I was not alive in 1963 and don't have any immediate personal cinematic narrative connection to '63 (part of why I'm eager to dig into this year and find out what it means to others), the year for me means "Letters From a Birmingham Jail," the very pivotal, if somewhat under-discussed piece of writing from Dr. Martin Luther King Jr. Thinking about the fact King wrote that while imprisoned a little over a week after the Oscar ceremony (not that the two are related, just a piece of trivia) makes me consider the hypothesis that the political climate of the country does influence Oscar's choices. One wonders how that tracks (or doesn't) in
terms of Tom Jones' Best PIcture victory.
And as ever your host...
Nathaniel R
Nathaniel is the creator and owner of The Film Experience and a member of the Broadcast Film Critics Association. He recently became an O'Neill Fellow at the National Critics Institute. He is the film columnist for Towleroad, a longtime Oscar pundit (Gurus of Gold), and his writing has appeared in both online publications (Vanity Fair, Slate, Tribeca Film, Show-Score) and print magazines (Esquire and Winq). Nathaniel has served on international festival juries and appeared as an on-air Oscar pundit for CNNi. Follow him @nathanielr
What does 1963 mean to you?
Liz Taylor as Cleopatra mostly. I am who I am. I sometimes try to imagine how frighteningly colossal the world's obsession with her in that time period of her life would be were it transposed into our era of social media and 24/7 celebrity coverage. I'm guessing it would be something like Beyoncé 2016 times Brangelina 2005 filtered through a media hype lens that was akin to Marvel Studios Phase Whatever breathlessness. One can only imagine the op-eds and memes and cosplay. Other things I occasionally think about from 1963 include my parents being newlyweds (how were they ever that young?) just starting a family, everything about Hud, Harry Belafonte and Sidney Poitier and other celebrities rallying for Civil Rights, Natalie Wood receiving her last Oscar nomination (sniffle), and The Judy Garland Show's debut -- love watching clips of that on YouTube. How did that show get cancelled so quickly. Didn't people back in 1963 know how good they had it with The World's Greatest Entertainer?
What does 1963 mean to you, dear readers?
Tuesday, October 3, 2017 at 12:15PM 
There is a knack to watching Laura Poitras’ latest film, Risk, her first as a director since winning the Academy Award for Citizenfour. And it’s not being abreast of the life and controversies of its on-screen subject, Julian Assange. Although that certainly helps to a point, his journey felt to be of little consequence to me in regards to how I ultimately felt about the movie. The film is messy and often perplexing, no better personified by an utterly surreal and bizarre sequence with Lady Gaga that is not kind to either of its participants.
