#oscars 50

[theoscarsproject]

Iphigenia (1977). To appease offended gods before going to war, a commander must sacrifice his favorite daughter to them but does so under the pretext of marrying her off.

Lushly shot and compellingly told, this adaptation of the classic story is a pretty incredible feat. It takes the tropes and style of epic cinema like Ben Hur and The Message, to tell something mythic and intimate. It's really affecting cinema, and one I'd love to see one day on the big screen. 8/10.

[theoscarsproject]

Smokey and the Bandit (1977). The Bandit is hired on to run a tractor-trailer full of beer over state lines, in hot pursuit by a pesky sheriff.

This movie is way more fun than it has any right to be – a caper across the deep south with Burt Reynolds at his most, well, Burt Reynolds, haha. He and Sally FIeld are a bit of a delight together, and the 'fuck the police' energy just feels way more topical than it should be. It's not perfect, and not particular deep, but it's pretty hard not to get onboard. 7/10.

[theoscarsproject]

Union Maids (1977). Three women union organizers of the early Depression era discuss and reminisce their actions of the time and the current state of the labor movement. Accompanied by a lot of vintage folk music.

I really enjoyed this short documentary, which gave such an incredible insight into a really interesting era of history. The women all interview well, and are generous with their stories which capture this tumultuous time and frequently show the meeting point of women's rights, civil rights and labour rights. It's a good documentary on an important topic. 7.5/10.

[theoscarsproject]

I Never Promised You a Rose Garden (1977). A disturbed, institutionalized 16-year-old girl struggles between fantasy and reality.

This feels like such a pre-cursor to movies like Girl, Interrupted that I think I was always going to have a bit of a soft-spot for it, haha. It's compelling, emotionally layered, and with some really nice cinematography that captures the complexity of these characters. The ebb and flow of the story makes for a nice, mellow pace, and I really just wish the script was a little bit stronger. 6.5/10.

[theoscarsproject]

The Turning Point (1977). When her daughter joins a ballet company, a former dancer is forced to confront her long-ago decision to give up the stage to have a family.

It's insane to me that this isn't a movie I'd ever heard of. I love a dance movie, and gosh! Anne Bancroft and Shirley MacLaine! The talent! It definitely feels like a lost film when you watch it too – it's not good exactly, and it's pretty forgettable, but at the same time, it really holds your attention for its two hour run time. It's vibrant, and emotive, and really unpacks different interpretations of the same moments in interesting ways. I enjoyed it, but it's a pretty flawed movie too. 7/10.

[theoscarsproject]

Sorcerer (1977). Four unfortunate men from different parts of the globe agree to risk their lives transporting gallons of nitroglycerin across dangerous Latin American jungle.

I'd never even heard of this movie before watching it for this project, which feels like a huge crime? Directed by William Friedkin who's best known for The Exorcist and The French Connection, this is a tightly told thriller that really does keep you on the edge of your seat. It's tremendously compelling and beautifully shot, and it's insane to me that it wasn't nominated for more than sound. 8.5/10.

[theoscarsproject]

The Goodbye Girl (1977). After being dumped by her live-in boyfriend, an unemployed dancer and her 10-year-old daughter are reluctantly forced to live with a struggling off-Broadway actor.

This is cute! There are definitely elements of it that have not aged well, particularly in the sense of the boundaries between Elliot and Paula, but Richard Dreyfuss and Marsha Mason have such a personable chemistry they mostly pull it off. It's light and charming, and it's genuinely pretty wonderful that there was an era of cinema history where romcoms could be nominated like this. 7/10.

[theoscarsproject]

That Obscure Object of Desire (1977). Recounted in flashback are the romantic perils of Mathieu, a middle-aged French sophisticate as he falls for his nineteen-year-old former chambermaid Conchita.

I'm still not entirely sure how I feel about this movie. It definitely leans into the dysfunction of Mathieu and Conchita's relationship in ways that are alternately fun and harrowing in equal measure. The performances are good, and there's a bounce to it that keeps it moving quite briskly. I couldn't quite pin down the overall tone of the film though, and there were a few scenes that I didn't think really worked. 7/10.