#oscars 48

[theoscarsproject]

Fighting for Our Lives (1975). A great documentary about the United Farm Workers Movement and their non-violent struggle against police brutality in 1973.

It’s weird to see this swell of documentaries from the 1970s that all involve police brutality against union protestors. It makes for a pretty bleak picture about how the police have always been there to violently suppress peaceful protestors and uphold white supremacy and capitalism. This is a pretty good documentary, well-shot, but never quite goes as deep as it could’ve, which detracts from the overall effect, particularly when compared to Harlan County USA which was released the following year. 6/10.

[theoscarsproject]

Tommy (1975). A psychosomatically deaf, dumb and blind boy becomes a master pinball player and, subsequently, the figurehead of a cult.

Where do you even start with a movie like Tommy? Loud, surreal and strange, it operates like the pinball machine at the centre of it, catapulting you around the story world with a sort of bright, fizzing energy that’s certainly hyperactive, if not always coherent. All in all though, it’s not really my thing, despite Ann-Magret’s terrific performance and some stylish cinematography. 5/10.

[theoscarsproject]

The Promised Land (1975).At the turn of the century, Lodz, Poland was a quick-paced manufacturing center for textiles, replete with cutthroat industrialists and unsafe working conditions. Three young friends, a Pole, a Jew and a German, pool their money together to build a factory. The movie follows their ruthless pursuit of fortune.

God, this is a good film. Complex, rich and epic, it explores the pifalls of capitalism in a way that feels timeless, despite being a 1970s film set in the 1800s. It’s beautifully shot too, with some really brilliant performances. That said, the pacing can be a bit hairy - particularly in the first act - and the film’s probably about a half hour longer than it needs to be. 8.5/10.

[theoscarsproject]

Nashville (1975). Over the course of a few hectic days, numerous interrelated people prepare for a political convention.

Honestly, I wasn’t expecting to enjoy this movie as much as I did. The premise sounded interesting, but the film is so much more dynamic, layered and complicated than I was anticipating. The performances are stellar from the whole cast, and Joan Tewkesbury’s script fabulously explores the trappings of fame, loneliness, intimacy and the era. I already want to watch it again! 8.5/10.

[theoscarsproject]

Three Days of the Condor (1975). A bookish CIA researcher finds all his co-workers dead, and must outwit those responsible until he figures out who he can really trust.

This works well enough as a 70s thriller, with good pacing and an intriguing hook, but man, it feels very much of it’s time. Robert Redford playing a bookish researcher is - - y’know, kind of hilarious, haha, and while he’s good enough in the role, the movie never quite finds its footing for his character. It means that while the narrative intrigue is there, and the action sequences are a lot of fun, you never quite feel grounded enough in character to keep ahold of your interest. 7/10.

[theoscarsproject]

Mahogany (1975).Tracy, an aspiring designer from the slums of Chicago puts herself through fashion school in the hopes of becoming one of the world's top designers. Her ambition leads her to Rome spurring a choice between the man she loves or her newfound success.

This movie oozes melodrama in every possible way, but man, if it isn’t fun. Billy Dee Williams and Diana Ross have a really warm on-screen chemistry, and their scenes together are frequently the highlight of the movie. The story itself is always loud, but somehow it works. I enjoyed it a lot more than I thought I would, haha. 7/10.

[theoscarsproject]

The Magic Flute (1975). A production of Wolfgang Amadeus Mozart's opera "The Magic Flute" is presented, this film which blurs the lines of it as a stage production - not only with aspects of the theater stage shown, but also the occasional shot of the audience members watching it, and the performers going through their backstage routines during intermission - and a movie as the set moves out from the confines of the stage.

Ingmar Bergman has such an incredible sense of depicting physical intimacy that it’s hard not to be caught up in his work. The way he captures faces, touches, closeness is pretty much perfect, and there are some great sequences in this particular film demonstrating that. As a movie though, this one’s pretty faithful to an opera I’m not super into, haha, and the film really is at it’s best when it bends the rules of recorded theatre. 7/10.

[theoscarsproject]

The Story of Adele H. (1975). Adèle Hugo's unrequited love for a lieutenant.

This is an interesting story in a lot of ways about obsession and infatuation, and it’s really grounded in a pretty excellent performance by Isabelle Adjani. The movie ebbs and flows in ways that gives her the opportunity to really chew the scenery, albeit sometimes in ways that are frustrating or perhaps go on for too long. Still, it’s a compelling adaptation of a story I actually didn’t know about, so that was fun! 7/10.