Movies that Changed the Movies:
Identity, Alienation, and Ethical Choice
Presented by The College of Arts and Letters, Cline Library,
and The Department of Humanities, Arts, and Religion Movies which examine the self trapped in the moment,
explore individual identity in the face of history and monumental events,
and define 20th century alienation and disconnection.
Location:
All films are screened in the Cline Library Assembly Hall
August
28, The Kid
(Charlie Chaplin, 1921, 68 minutes)
"The Kid," produced in 1921, was Charles Chaplin's first
feature-length motion picture. Although he had been making short silent films
for the previous half dozen years and he would appear in a few more short subjects
thereafter, he had with The Kid firmly established himself as a major
player in the movie business. The picture also reaffirmed Chaplin's status
as an auteur, a filmmaker whose total guidance of every element of production
established his works' individuality. Once breaking away from Mack Sennett's
Keystone Film Company in the mid teens, he wrote, produced, directed, and starred
in virtually all of his movies, eventually building his own studio. So, as
well as being a fine, funny, and moving film, The Kid may also find
some appeal today for its purely historical value... It's hard not to like "The
Kid," with its old-fashioned yet endearing combination of pathos and humor.
The film represents the quintessential Chaplin spirit, and it probably does
more in its fifty-odd minutes to convince us of the man's genius than anything
he ever did. It established Chaplin as a Hollywood filmmaker of the first order,
a star that has not diminished in close to a century.” – John J.
Puccio
September
4, The Public Enemy
(William Wellman, 1931, 83 minutes)
“The Public Enemy is one of the earliest and
best of the gangster films from Warner Bros. in the thirties. …Director
William Wellman's pre-code, box-office smash, shot in less than a
month at a cost of approximately $151,000, was released at approximately
the same time as another classical gangster film - Little Caesar (1930)
that starred Edward G. Robinson as a petty thief whose criminal ambitions
led to his inevitable downfall. The Public Enemy was even
tougher, more violent and realistic (released before the censorship
codes were strictly enforced), although most of the violence is again
off-screen. The lead character is portrayed as a sexually magnetic,
cocky, completely amoral, emotionally brutal, ruthless, and terribly
lethal individual. However, the protagonist (a cold-blooded, tough-as-nails
racketeer and "public enemy") begins his life, not as a
hardened criminal, but as a young mischievous boy in pre-Prohibition
city streets, whose early environment clearly contributes to the
evolving development of his life of adult crime and his inevitable
gruesome death. Unlike other films, this one examined the social
forces and roots of crime in a serious way...” –Tom Dirks. National
Film Registry; Nominated, Oscar, Best Writing ; American Film Institute
#42 Villain of All Time.
September
11, The 39 Steps
(Alfred Hitchcock,1935, 86 minutes)
In the visually stunning The 39 Steps, Hitchcock taps into some of his German Expressionist training, in this bold refinement of his “man on the run, wrong man” storylines. Named the British Film Institute’s, #4 Favorite Film of all time, it foreshadows the success of Saboteur and North by Northwest. “Alongside The Lady Vanishes (1938), The 39 Steps, released by Gaumont-British in 1935, is the best known and most perennially successful of Hitchcock's British films, and is still among the most critically regarded. A free adaptation of John Buchan's popular novel, its central theme is one of Hitchcock's favourites: an apparently ordinary man embroiled by chance in a sinister conspiracy and charged with a murder he did not commit; he must unravel the plot to prove his innocence…. The 39 Steps was a huge success on its release, and crowned Hitchcock as the undisputed king of British cinema. Campbell Dixon in The Daily Telegraph thought it ‘immensely cinematic’, while the British Film Institute's usually reserved Monthly Film Bulletin described it as "first class entertainment". Sydney W. Carroll in The Sunday Times pronounced the director ‘a genius’”. –Mark Duguid
September
18, Snow White and the Seven Dwarfs
(Walt Disney, 1937, 83 minutes)
Disney’s first animated feature film totally changed critical
attitudes toward animation, establishing him as an American icon, genius, and
artist. With this film we have the foundational elements which establish
the identity of the Disney animated heroine: plucky, vulnerable, compassionate,
capable of tremendous will and heroism and yet, in the end, needing
some elements of rescue. Roger Ebert says “What you see
in 'Snow White is a canvas always shimmering, palpitating,
with movement and invention. To this is linked the central story, which
like all good fairy tales is terrifying, involving the evil Queen,
the sinister Mirror on the Wall, the poisoned apple, entombment in
the glass casket, the lightning storm, the rocky ledge, the Queen's
fall to her death. What helps children deal with this material is that
the birds and animals are as timid as they are, scurrying away and
then returning for another curious look. The little creatures of Snow
White are like a chorus that feels like the kids in the audience
do. Snow White and the Seven Dwarfs' was immediately
hailed as a masterpiece. (The Russian director Sergei Eisenstein called
it the greatest movie ever made.) It remains the jewel in Disney's
crown, and although inflated modern grosses have allowed other titles
to pass it in dollar totals, it is likely that more people have seen
it than any other animated feature. The word genius is easily used
and has been cheapened, but when it is used to describe Walt Disney,
reflect that he conceived of this film, in all of its length, revolutionary
style and invention, when there was no other like it--and that to one
degree or another, every animated feature made since owes it something.” American
Film Institute named it as having the #10 “Best” Villain, #19
Best Song, and the #49 Best Film of All Time.
September
25, Citizen Kane
(Orson Welles, 1941, 119 minutes)
“A fictional biography of media magnate Charles Foster Kane (Orson Welles)
- a thinly veiled William Randolph Hearst that brought Welles and RKO all kinds
of problems - that recreates a life in flashback, Welles' Citizen Kane was
a startling cinematic debut by any standards, and from a 25-year-old made it
nothing short of remarkable. …A potent metaphor for the betrayal of
principles, the souring of the American Dream, and an intelligent mediation
on the corrupting nature of power, the film's reputation is nothing short of
gargantuan. Regularly cited as the greatest movie ever made, there's no doubting
its pure brilliance and status as a contender for so lofty a claim. What
is beyond doubt is that Welles and his collaborative troupe of Herman J Mankiewicz
(screenplay), Gregg Toland (photography), Robert Wise (editor), and the fantastic
cast of leading players managed to invent a whole new cinematic vocabulary.
The attention to detail … and technical brilliance (deep focus photography
and hitherto unchartered camera angles) combined to influence the future of
cinema. Citizen Kane is the margin by which all of Welles' later efforts
came to be judged and also, in many ways, the benchmark of film production.”— David
Wood, BBCi. American Film Institute and Sight
and Sound magazine named it the #1 Best Film of all time. Won,
Oscar, Best Writing; Won, National Board of Review, Best Picture; Won, New
York Film Critics Award, Best Film; Nominated, Oscar, Best Sound, Best Art
Direction, Best Music, Best Editing, Best Cinematography, Best Actor,
Best Director.
October
2, The Best Years of Our Lives
(William Wyler, 1946, 172 minutes)
The winner of seven Oscars including Best Picture, The Best Years
of Our lives is perhaps the first realistic examination of vets
returning home from WWII and, many hold, the single best film about
that experience. “The Best Years of Our Lives is
one of the greatest Hollywood films ever produced. It is, by turns,
a hilarious, inspiring, sobering, and tear-jerking look at the difficulties
that soldiers returning from World War II, as well as their waiting
families, had to endure. The most surprising thing about this film
is that it was made just a year after the end of World War II. Its
blunt and realistic portrait of the problems faced by returning veterans
is pretty shocking, considering that it came out when postwar euphoria
was still rampant in the United States, when the idea that returning
veterans would have a hard time was anathema; how could a grateful
country treat its returning heroes badly? This was not Vietnam, it
was not an unpopular war marked by increasingly virulent protests.
Returning soldiers were supposed to be heroes, proud in the knowledge
that they had defeated a tyrant and brought freedom to much of the
world. They weren't supposed to be haunted by nightmares, spurned by
their wives, or uncomfortable in their former employment. In scene
after scene, the forgotten everyday trials of readjustment to civilian
life play out. The focus of much of the film is on Fred Derry, who
knows how to drop bombs, but he has little to offer employers outside
a strong back. He also quickly finds that he and his wife are incompatible,
and he has to deal with his growing affection for Peggy, his friend's
daughter. One great aspect of the film is how it deals with how military
friendships are affected by civilian life: Derry outranks his friend
Al within the military, but on the outside, class issues are at the
forefront. The final star of the film is Gregg Toland's gorgeous
deep-focus cinematography. When comparing his breakthrough work in Citizen
Kane to this film, the differences are subtle but important. In Kane,
the deep-focus photography had an exoticizing effect, making everything
seem a little unworldly, while here, its flat images and zero depth
of field give the film the look of a documentary or a still photograph;
it seems somehow archival, a look that immeasurably helps the film's
immediacy.” –Michael W. Phillips, Jr, Goatdog’s
Movies. The film won much international and domestic
recognition including the BAFTA, Best Film award; Won, Bodil Award,
Best American Film; Won, Cinema Writers Circle Award, Spain, Best Foreign
Film ; Won, New York Film Critics Award.
October
9, Rope
(Alfred Hitchcock, 1948, 80 minutes)
“Rope is a complex and dazzlingly unique picture. Subversively
based on the Leopold and Loeb murder case, it presents us with two boys who
have been taught by their old headmaster of the Nietzschean philosophies of
the Superman and the unimportance of the lives of simpler people…More
macabre writing you aren't likely to find, and a more interesting way to tell
the tale you won't likely see. Based on a British play, Hitch opted to shoot
the film as if we were indeed watching a stage performance -- seemingly in
one long take from beginning to end. (Actually there are about eight cuts in
the film as we zoom in on a dark background -- like someone's jacket -- due
to the limit on the amount of film that can be stored in a camera reel at one
time.) Regardless, the effect is astonishing, as we follow the characters from
room to room and as the plot is nearly uncovered -- an amazing feat considering
the enormous size of the color cameras back in the 1940s (this was Hitchcock's
first color film). … Pay special attention to the gloriously complicated
set design, which features a model of New York City in the background, complete
with moving clouds and a sky that slowly fades from day to night. Amazing.”—Christopher
Null, Filmcritic.com
October
16, The Third Man
(Carol Reed, 1949, 93 minutes)
“Many people consider The Third Man (1949) the Greatest British
Film Ever Made…It's one of the few British films that deserves to stand
alongside the great classics of international cinema. …Set in post-war
Vienna, it's a thriller about black marketeering and murder, whose lightness
and wit combines with a sense of existential crisis brought on by the horrors
of the conflict. Its richness comes from this combination - it's both a popular
entertainment and a profound exploration of moral choice. It's great cinema
too, built on the rock-solid foundation of Graham Greene's world-weary script.
Directed by Carol Reed, at the time regarded as one of the two or three greatest
film-makers in the world, The Third Man is one of those films that's
fixed in the collective imagination. It would be difficult to find someone
who didn't recognise the film's atmospheric, sinister vision of Vienna and
its zither music. And it has one of the most famous scenes in cinema - when
the anti-hero Harry Lime, played by Orson Welles, who is believed to be dead,
appears without warning in a doorway, late at night.” Rob White, BBC. Won,
Cannes Film Festival, Grand Prize;Won, Oscar, Best Cinematography; Won, BAFTA,
Best British Film; Nominated, BAFTA, Best Film; Nominated, Oscar, Best Editing;
American Film Institute #37 Villain of All Time; American Film Institute #57
Film of All Time; American Film Institute #75 Thriller of All Time; FilmFour
#41 Greatest Film; British Film Institute, #1 Favorite Film; Rolling Stone,
#41 Best Film.
October
23, High Noon
(Fred Zinneman, 1952, 85 minutes)
“Small-town Marshall Will Kane (Gary Cooper) faces a lonely, dark vigil when he hears that a deadly enemy and vengeful murderer has been set free by liberal abolitionists. Attempting to enlist the help and support of his good neighbours in suppressing his returning foe, Kane finds only cowardice and fear whichever way he turns. Worse perhaps, while preparing for the inevitable gun battle, Kane faces vehement, pacifist disapproval from his Quaker wife Amy (Grace Kelly). Meanwhile, his nemesis and eager gang speed ever nearer, due to arrive on the midday train. Bolstered by a highly dignified and impeccable performance from an aging Gary Cooper, which has since come to been seen as synonymous with male heroism, Zinnemann's taut, meticulously crafted Western - largely played out in 'real time' with an emphasis on ticking clocks palpably cranking up the tension - still stands as one of the greatest examples of the genre. It's an allegorical tale about the McCarthy witch hunts, penned by HUAC blacklisted writer Carl Foreman, which also offers a number of well-thought-out observations on the nature of violence. It's a beautifully composed film - courtesy of Floyd Crosby's picturesque sunlight and shadow compositions - which achieves the difficult task of being about morality while avoiding tart sermonising and hollow admonitions. A film about what it means to be a man that manages to avoid the musk of machismo, High Noon is truly a film that improves with each and every viewing.”—David Wood, BBC. Nominated for an Oscar for Best Writing, Best Picture, and Best Director; American Film Institute ‘s award for # 5 Hero of All Time, #20 Thriller of All Time, #25 Song of All Time, #27 Most Inspirational Film of All Time, #10 Best Score of All Time and #33 Film of All Time.
October
30, Invasion of the Body Snatchers
(Don Siegel, 1956, 80 minutes)
“In 1956, the alien invasion film was in its full "glory." The
Thing From Another World, War of the Worlds, and many others
had displayed an external threat. THEY are out there and are coming to
get us! The UFO craze put flying saucers everywhere. Invasion
of the Body Snatchers made the threat internal. It was no longer "The
Others" that were to be feared, but our own friends, family, and neighbors. This
is a much more frightening concept, and it created a smarter and more tension-filled
picture than its relatively simplistic contemporaries. Invasion of
the Body Snatchers wasn't the first film where alien possession/replacement
was the means of attack, but it was the best, and the one that has been remembered….Based
on Jack Finney's novel, The Body Snatchers, screenwriter Daniel Mainwaring
weaves a tight tale, with likeable, multi-dimensional characters, and snappy
dialog. There are no wasted moments. Director Don Siegel adds a
Film Noir look to crank up the hopelessness. Darkness hides the malevolence
until it is too late, and then it is "good" that has to take refuge
in shadows. …Taken as a horror film, without examining its context or
theme, it is amazingly effective, even fifty years later. It ignores
cheap jump-scares in favor of slowly building anxiety that leads to real fright…”—Matthew
Foster. American Film Institute’s #47 Thriller of
All Time and Rolling Stone’s #23 Film of All Time.
November
6, Rebel Without a Cause
(Nicholas Ray, 1955, 111 minutes
“The myth of James Dean begins in Rebel
Without A Cause. Nicholas Ray's raging tale of youth in revolt
in 50s America solidified Dean's star quality - vulnerable beauty,
handsome toughness and a curious, ambivalent sexuality - packaging
it into a lush CinemaScope image of rebellion to rival Brando's Wild
One. Dean is Jim Stark, a juvenile delinquent raging against
the square emptiness of the adult world and searching for teenage
kicks with friends Judy (Natalie Wood) and Plato (Sal Mineo). Originally
shot in black and white, then switching to CinemaScope early in production, Rebel
Without A Cause is a brilliant, iconic movie. Tapping into the
booming youth culture of the day, Ray transforms Dean into a beatnik
pin-up, a Jack Kerouac for teenyboppers. Coolness is everything -
from the red jacket to the wobbling quiff - but beneath it lies a
rage that erupts as Jim beats a desk apart with his bare hands. Now
a classic, it's easy to forget how radical this once was. Capturing
the youth subculture like no one before, Rebel's tale of
gangs, chicken races and the burgeoning sexuality of adolescence
points a wagging finger of blame not at the kids but at society itself.
As hormones rage out of control - in Jim's unspoken, homoerotic love
for Plato and his lust for Wood's electric heroine - it seems there's
nowhere for this rebel to go and Ray frames the final, inevitable
act as grand tragedy. A movie for anyone who's ever been a teenager.”—Jaime
Russell, BBC, Nominated for an Oscar for Best Actor
in Supporting Role, Sal Mineo; Best Actress in Supporting Role, Natalie
Wood; Nominated, Oscar, Best Writing; Nominated, BAFTA, Best Film;
Nominated, BAFTA, Best Foreign Actor, James Dean; American Film Institute’s
#59 Film of All Time; TV Guide’s #31 Greatest Movie;
FilmFour’s #57 Greatest Film; Rolling Stone’s ,
#44 Greatest Film.
November
13, Breathless
(Jean-Luc Godard, 1961, 90 minutes)
Perhaps the most influential single work of the first generation of
post studio system directors, Breathless won the Berlin
Film Festival, Silver Bear, Best Director award, as well as winning
the French Syndicate of Cinema Critics, Best Film nod. Roger
Ebert suggests modern film as we know it begins with this film. Still
more influential than seen, it still has the power to wow new
viewers: “Picture it: Elegant French criminal Michel
Poiccard steals a car and drives to Paris, while shooting at the
cops in hot pursuit, just so he can find Patricia Franchini, the
American girl he can’t stop thinking about. It’s so good,
there almost are no words. Jean-Paul Belmondo, looking the best he
ever will, Jean Seberg with a pixie haircut and capri pants to die
for, and Paris in glorious black and white. The degree to which this
film has influenced the look and feel of independent and art cinema
is almost impossible to discern. Even now, many filmmakers would
probably give their right kidney to make something that even approaches A
Bout de Souffle. This film’s been called “the yardstick
of cinematic cool” and it’s really true.…Aside
from the exquisite ways in which Belmondo and Seburg make early 1960s
daywear edgy, the film captures an emotive slice of the rift between
the sexes. Directors like Lina Wertmuller tried and failed to capture
what it’s like when old world machismo rubs up against emancipated
womanhood, but Goddard does it perfectly. In the bedroom scenes between
Michel and Patricia, there’s a blend of camaraderie and insouciance
underscored by loneliness and self-protection that lets A Bout
de Souffle transcend the years with much more than just it’s
fashion forwardness intact.” –Sarah Artt, Edinburgh
University Film Society
November
20, The Manchurian Candidate
(John Frankenheimer, 1962, 126 minutes)
“Frank Sinatra plays Major Marco a true-blue veteran who can't shake disturbing nightmares about his time in Korea - nightmares that hint at the brainwashing of American troops and hypnotised killers at large in the USA. Increasingly convinced that his dreams represent the suppressed memory of an all too real event he decides to investigate, and piece by chilling piece a terrifying story emerges. During the war his entire platoon was captured and brainwashed into believing their commanding officer, played by Laurence Harvey was a hero, when in fact he is a programmed killer. Back in civvy street Harvey clicks mechanically into action and begins to kill without mercy. But Major Marco discovers that someone else is in fact pulling the puppet strings and has ordered Harvey to murder a presidential candidate. As the layers of lies and deception are stripped away, the question remains: can Ol' Blue Eyes foil the plot? This genuinely frightening and daring film blew holes in the political complacency of post-war American cinema - indeed it was considered controversial enough to be withdrawn and suppressed from movie theatres after its first run. A heart-stopping chase through bluff and double bluff, it boasts truly excellent performances from the cast, particularly Angela Lansbury as Harvey's unstable mother.”—Matt Ford. Won, Golden Globe, Best Actress in a Supporting Role, Angela Lansbury; Won, National Board of Review, Best Supporting Actress, Angela Lansbury; Nominated, Oscar, Best Film Editing; Nominated, BAFTA, Best Film; Nominated, Directors Guild , John Frankenheimer.
November
27, Bonnie and Clyde
(Arthur Penn, 1967, 111 minutes)
”Seen today, there isn't much explicitly controversial about Arthur Penn's Bonnie
and Clyde. However, at the time it was released, the graphic presentation
of violence and the lack of antipathy towards our protagonists (who are presented
in an almost heroic manner) was unconventional. The film became trendsetting
in legitimatizing violence as a filmatic effect, and has been a model for many
imitations, such as Terrence Malick's Kit and Holly in Badlands or
Oliver Stone's Mickey and Mallory in Natural Born Killers…Although
Hollywood has always been attracted to the gangsters of the public enemy era,
it had never before been done in a romanticized manner like this. Warren Beatty's
Clyde Barrow views his antics almost as artworks. His rebellion is also his
performance, him showing off to the world. And Bonnie Parker, who just wants
recognition, who wants to be loved, acknowledges the beauty of her mate's inspiration.
She loves him for his fearlessness and ambition…Bonnie and Clyde combines
an energetic narrative with a social criticism that becomes increasingly relevant
as the film moves forward. The film wants to romanticize its heroes, but is
careful not to become sentimental about it before it absolutely has to. The
result is immensely engaging and largely timeless - despite some obvious technical
aspects that makes it clearly contemporary…. What the two of them have
in common is a lack of moral objections. Their value system and idea of right
and wrong is a product of a society where the old way of thinking is in conflict
with the new way of structuring. Bonnie and Clyde are a result
of the depression, but they are also the remnants of an ancient American tradition.
They are simple and without perspective, but they are idealistic beyond their
own grasp. What they do know, however, is that they are inherently doomed.
And therein lies their romantic culmination..” – Fredrik Gunerius
Fevang. Won, Oscar, Best Cinematography; Won, Oscar, Best Actress
in a Supporting Role, Estelle Parsons; Won, National Society of Film Critics,
Best Screenplay; Won, National Society of Film Critics, Best Supporting Actor,
Gene Hackman; Won, New York Film Critics, Best Screenplay; Won, Writers Guild
of America, Best Drama.
December
4, The Godfather
(Francis Ford Coppola, 1972, 175 minutes)
The Godfather holds a central place in cinema history, an
epic which has coloured everything made subsequently with its imagery
and operatic scope. Violence plays a vital part in this intricate
tale of corruption and revenge, some of the set-pieces are unforgettable,
but it isn't the crucial element - family is. The responsibilities,
respect, sacrifices and love which well from this genetic union are
the lifeblood of The Godfather, the aspect which allows
personal identification with the characters. Seen from within the
Corleone family is much like anyone else's - they bicker, love, celebrate
and sadden. However, viewed from the outside, the trail of destruction
as one generation hands over to the next is staggering, horrifying
and awfully gripping…. Given an average novel, budgetary constraints
and a studio who wished to make the movie contemporary, Coppola turned
everything around with a superb screenplay, great casting and a dedication
to staying in period. …With a host of established character
actors, who can suggest the nuances of their role without being handed
much screen time, the entire cast is seamlessly excellent….
The technical and associated aspects of The Godfather are
equally fine, a few of which deserve special mention. The cinematography,
which casts the early parts of the film in slight sepia tones and
covers many scenes in a deep veil of shadow, is beautifully controlled.
Editing this lengthy film must have been an exhausting task but thankfully
it is handled well, especially in the montage sequences (which contrast
life-death and bring out the smell of hypocrisy). The post-war era
is splendidly recreated, with Coppola even going to the trouble of
removing the TV aerials from certain streets. On the aural side,
the score by Nino Rota is immensely memorable and startlingly evocative
of certain key moments. Altogether, The Godfather is near-perfect
in its execution, composition and impact.”-- Damian Cannon. Four
Oscar Wins; American Film Institute’s #2 Film, #2
Best Quote, #5 Best Score of All Time.
December
11, Cabaret
(Bob Fosse, 1972, 124 minutes)
“Bob Fosse's dazzling musical Cabaret signaled a resurrection
of the genre in a form more appropriate to the zeitgeist of the 1970s; the
movie was released in the midst of the Vietnam War and after a decade of political
assassinations. The late 1960s have not been particularly good for the Hollywood
musical—witness Barbra Streisand's Funny Girl, which was OK,
and her Hello, Dolly! which was not. This intelligent, socially conscious,
masterfully crafted version of the stage success features increased realism
along with a rather serious subject matter, particularly for a Hollywood musical.
There is a rearrangement of the musical numbers and subplots, and a greater
emphasis is placed on the authentic musical talent of the stars, particularly
Liza Minnelli.Fosse's chilling musical about decadence in the Weimar Republic,
his second movie, is stylishly directed and choreographed, featuring a fantastic
performance from Liza Minnelli, who won the Best Actress Oscar. In Cabaret,
Fosse made a huge leap forward as a filmmaker in command of technical skills….Minnelli's
knockout performance nearly obscures the film's social points, which become
more obvious and poignant toward the end of the film. You will get shivers
watching the song "Tomorrow Belongs to Me," in which a young fresh-faced
youth is gradually transformed into a Nazi. The final fadeout imagery is indelible.
In her second Oscar-nominated turn, Liza Minnelli literally becomes a star
before our eyes, even if her playing Sally Bowles' tragic mediocrity is not
plausible. Fosse wisely scrapped some weak songs from the original score and
songwriters Kander and Ebb added some new ones. "The Money Makes the World
Go Around," sung by Joel Grey is a showstopper, and so is "Mein Herr," in
which Minnelli rivals Marlene Dietrich (Blue Angel) in evoking the
Weimar-era decadence.”—Emanuel Levy. Won Oscars for Film
Editing, Score, Art Direction, Director, Actor in a Supporting
Role, Sound, Actress, Cinematography.