#oscars 46

[theoscarsproject]

Serpico (1973). An honest New York cop named Frank Serpico blows the whistle on rampant corruption in the force only to have his comrades turn against him.

What a well structured, tightly told film! It’s the political thriller at it’s best – ramping up the stakes and exploring corruption in a really compelling way. Al Pacino is at his best in the title role, but the entire supporting cast delivers too. It’s a strong film that feels in a lot of ways more timely than ever. ACAB. 8/10.

[theoscarsproject]

American Graffiti (1973). A couple of high school grads spend one final night cruising the strip with their buddies before they go off to college.

I actually watched this film while I was in uni for a unit on pop music in cinema, and I enjoyed it back then, and I enjoyed it on this re-watch too. There’s such a fun, ‘one night only’ energy to the thing, and the way that the storylines come to a head and meander and pivot are generally well written, well paced and well acted. It’s a really enjoyable film, and one of George Lucas’ better endeavours. 7.5/10.

[theoscarsproject]

Paper Moon (1973). During the Great Depression, a con man finds himself saddled with a young girl who may or may not be his daughter, and the two forge an unlikely partnership.

I wasn’t entirely sure what to expect of this film, but honestly, I fell in love with it. It hit a lot of my buttons in terms of created family, road trips, and crime, and the ebb and flow between the characters is pretty tonally pretty perfect. It’s only bolstered by great performances, a solid script and some really beautiful cinematography. It’s one of the best films I’ve watched for this project in a while. 8.5/10.

[theoscarsproject]

The Way We Were (1973). Two disparate people have a wonderful romance, but their political views and convictions drive them apart.

Funnily enough for a movie that feels so embedded in our cultural canon, this wasn’t what I expected at all. I was really expecting something pretty saccharine, but instead this movie has real teeth. It asks a lot of questions about what must be sacrificed for passion and conviction, and what it means to have neither. Barbara Streisand is terrific in the leading role, and Robert Redford really owns the quieter, less spirited role in a way where you feel his exhaustion (even if you don’t agree with it). It’s a compelling film that captures a relationship between two people who were never going to have a happy ending, and it does it really well. 7.5/10.

[theoscarsproject]

Brother Sun, Sister Moon (1972). Dramatization of events in the life of St. Francis of Assisi from before his conversion experience through his audience with the pope, including his friendship with St. Clare.

Another day, another Oscar-nominated Christian history story. This is an okay movie, bolstered really by some lovely cinematography and a decent score. The performance of Graham Faulkner in the lead role is wooden at best, and the screenplay is, well, exactly what you’d expect. Still! I’d rate it over Jesus Christ Superstar. 5/10. 

[theoscarsproject]

Papillon (1973). A man befriends a fellow criminal as the two of them begin serving their sentence on a dreadful prison island, which inspires the man to plot his escape.

I love a good escape film, and this really is a great one! Dramatic, tense, with excellently, richly depicted relationships, not just with others, but the self. It makes for not just a thrilling film, but one that’s introspective and character-driven. It’s not a perfect film, I think, but it really is a good one. 8/10.

[theoscarsproject]

The Last Detail (1973). Two Navy men are ordered to bring a young offender to prison, but decide to show him one last good time along the way.

I’m finding the 70s really hit or miss in terms of tone and pacing. It just seems like a real mismatch of cinema after the golden age of the 40s and the more experimental years of the 60s. In that sense, The Last Detail though is one of the films I think that gets it right. It’s languid without being slow, and a character study without feeling too heavy-handed. Instead it captures three men at a moment in time, with a strong, ticking-clock narrative and some really well-harnessed beats. It’s a really solid, enjoyable film. 7.5/10.

[theoscarsproject]

Save the Tiger (1973). A disillusioned war veteran has two days to let go of his shaken morals if he wants his small fashion company to survive.

I wasn’t really sold on the premise of this, but I actually really enjoyed the film. Jack Lemmon is always charming, but the film overall captures the themes of disillusionment, loss and delayed trauma in a pretty affecting way. It’s not a perfect film by any stretch of the imagination, but it’s one that feels honest and earnest in it’s intent, and the good performances and loping pace elevate it overall. 7/10.