Фильмы, получившие премию ОСКАР в 1968 году
Фильмы, получившие премию ОСКАР в 1968 году
Полуночная жара (In the Heat of the Night)
In the Heat of the Night is a 1967 dramatic mystery film directed by Norman Jewison, based on the 1965 John Ball novel of the same name which tells the story of Virgil Tibbs, a black police detective from Philadelphia, who becomes involved in a murder investigation in a racist small town inMississippi. It stars Sidney Poitier, Rod Steiger, and Warren Oates, and was produced by Walter Mirisch. The screenplay was by Stirling Silliphant.
The film won five Academy Awards, including the 1967 award for Best Picture.
The film was followed by two sequels, They Call Me MISTER Tibbs! in 1970, and The Organization in 1971. In 1988, it also became the basis of atelevision series adaptation of the same name.
Although the film was set in the fictional Mississippi town of Sparta (with supposedly no connection to the real Sparta, Mississippi, an unincorporated community), part of the movie was filmed in Sparta, Illinois, where many of the film's landmarks can still be seen. The quote "They call me Mister Tibbs!" was listed as number 16 on the American Film Institute's 100 Years...100 Movie Quotes, a list of top film quotes.
Mr. Colbert, a wealthy man from Chicago who was planning to build a factory in Sparta, Mississippi, is found murdered. White police Chief Bill Gillespie (Rod Steiger) comes under pressure to quickly find his killer. African-American northerner Virgil Tibbs (Sidney Poitier), passing through town, is picked up at the train station between trains with a substantial amount of cash in his wallet. Gillespie, prejudiced against blacks, jumps to the conclusion that he has his culprit but is embarrassed to learn that Tibbs is an experienced Philadelphia homicide detective who is simply passing through town after visiting his mother. After the racist treatment that he receives, Tibbs wants nothing more than to leave as quickly as possible, but his own chief, after questioning whether Tibbs himself is prejudiced, has him stay and help. Leslie Colbert (Lee Grant), the victim's widow, already frustrated by the ineptitude of the local police, is impressed by Tibbs's expertise when he clears another wrongly accused suspect whom Gillespie has arrested on circumstantial evidence. She threatens to stop construction on the much needed factory unless Tibbs leads the investigation. Unwilling to accept help, but under orders from the town's mayor, Gillespie talks a reluctant Tibbs into working on the case.
Despite the rocky start to their relationship, the two policemen are compelled to respect each other as they are forced to work together to solve the crime. Tibbs initially suspects wealthy plantation owner Eric Endicott (Larry Gates), a racist who publicly opposed the new factory. When he attempts to interrogate Endicott about Colbert, Endicott slaps him in the face, but Tibbs slaps him back, which leads to Endicott sending a gang of hooligans after Tibbs. Gillespie rescues him from the fight and orders him to leave town for his own safety, but Tibbs refuses to leave until he has solved the case.
Tibbs asks Sergeant Sam Wood (Warren Oates), the officer who discovered the body, to retrace his steps the night of the murder. Tibbs and Gillespie accompany Wood on his patrol route, stopping at a diner where the counterman, Ralph Henshaw (Anthony James), refuses to serve Tibbs. When Tibbs notices that Wood has deliberately changed his route, Gillespie starts suspecting Wood of the crime. Tibbs indicates that he knows why Sam has changed his route but will not disclose the reason to Gillespie. When Gillespie discovers that Wood made a sizable deposit into his bank account the day after the murder (which Wood claims is gambling winnings) and Lloyd Purdy (James Patterson), a local, files charges against Wood for getting his 16-year-old sister Delores (Quentin Dean) pregnant, Gillespie arrests Wood for the murder, despite Tibbs's protests. Purdy is insulted that Tibbs, a black man, was present for his sister's interrogation about her sexual encounter with Wood, and he gathers a mob to get his revenge on Tibbs.
Tibbs is able to clear Wood by finding the original murder scene and pointing out that Sam would not have been able to drive two cars at the same time, his police patrol car and the victim's car. Tibbs also admits that he knew immediately that Wood changed his route not to hide the fact that he was a murderer, but was a peeping Tom, and declined to publicly reveal this in order to spare Wood embarrassment.
Acting on a hunch, Tibbs tracks down the local back-room abortionist, who reveals that someone has paid for Delores to have an abortion. When Delores arrives, Tibbs pursues her outside, where he is confronted by the murderer, Henshaw. Purdy's mob tracks down Tibbs at this moment, and he is being held at gunpoint when he proves to Purdy that it was Henshaw, not Wood, who got Delores pregnant, and Henshaw murders Purdy before being disarmed by Tibbs. Henshaw is arrested and confesses to the murder of Colbert. He had attempted to rob Colbert to gain money to pay for Delores's abortion but accidentally killed him.
His job done, Tibbs finally boards the Gulf, Mobile & Ohio train out of town, after being bid farewell by a now respectful Gillespie.
Угадай, кто придет к обеду? (Guess Who`s Coming to Dinner)
Guess Who's Coming to Dinner is a 1967 American comedy-drama film starring Spencer Tracy, Sidney Poitier and Katharine Hepburn, and featuring Hepburn's niece Katharine Houghton. The film contains a (then rare) positive representation of the controversial subject of interracial marriage, which historically had been illegal in most states of the United States, and still was illegal in 17 states—mostly Southern states—until 12 June 1967, six months before the film was released, roughly two weeks after Tracy filmed his final scene (and two days after his death), when anti-miscegenation laws were struck down by the Supreme Court in Loving v. Virginia. The film was produced and directed by Stanley Kramer and written by William Rose. The movie's Oscar-nominated score was composed by Frank DeVol.
The film is notable for being the ninth and final on-screen pairing of Tracy and Hepburn, with filming ending just 17 days before Tracy's death. Hepburn never saw the completed film, saying the memories of Tracy were too painful. The film was released in December 1967, six months after his death.
The plot centers on Joanna’s return to her liberal upper-class American home in San Francisco, bringing her new fiancé, a young, idealistic black physician, to dinner to meet her parents, newspaper publisher Matt Drayton (Spencer Tracy) and his wife, art gallery owner Christina Drayton (Katharine Hepburn).
Brought up by her parents as a liberal, Joanna finds it difficult to comprehend the behavior of her parents upon meeting John. While they taught her to treat black people and members of other racial groups as equals, they cannot accept their daughter's actions, for they did not expect her to introduce to them a black man as their future son-in-law. Without Joanna's knowledge, John tells the Draytons that he will not marry their daughter if they object to the marriage. But, he adds, their decision must come before he leaves for Switzerland that evening for three months, during which time the couple plan to marry. Adding to the pressure of this time constraint, John's parents (Roy E. Glenn, Beah Richards) fly up from Los Angeles to the Draytons' dinner that evening, but don't know that Joanna is white until they meet her at the airport. Monsignor Ryan (Cecil Kellaway), a Catholic priest and friend of Matt's, is also present at dinner and is a voice for tolerance.
The film depicts the reaction of their family and friends, and the discomfort of their parents, as all try to accept the couple's choice. The main characters begin to pair off in various private conversations with each other about the situation. Finally, Matt Drayton makes his decision and in a dramatic monologue approves the marriage. The film also touches on black-on-black racism when John is taken to task by his father and the household maid Tillie (Isabel Sanford) for his perceived presumptions.
Хладнокровный Люк (Cool Hand Luke)
Cool Hand Luke is a 1967 American prison drama film directed by Stuart Rosenberg, starring Paul Newman and featuring George Kennedy in an Oscar-winning performance. Newman stars in the title role as Luke, a prisoner in a Florida prison camp who refuses to submit to the system.
The film, set in the 1940s, is based on Donn Pearce's 1965 novel of the same name. Pearce sold the story to Warner Brothers, who then hired him to write the script. Due to Pearce's lack of film experience, the studio added Frank Pierson to rework the screenplay. Newman's biographer Marie Edelman Borden states that the "tough, honest" script drew together threads from earlier movies, especially Hombre, Newman's earlier film of 1967. The film has been cited by Roger Ebert as an anti-establishment film which was shot during the time of the Vietnam War, in which Newman's character endures "physical punishment, psychological cruelty, hopelessness and equal parts of sadism and masochism". His influence on his prison mates and the torture that he endures is compared to that of Jesus, and Christian symbolism is used throughout the film, culminating in a photograph superimposed over crossroads at the end of the film in comparison to the crucifixion. Filming took place on the San Joaquin River Delta, and the set, imitating a southern prison farm, was built in Stockton, California. The filmmakers sent a crew to Tavares Road Prison in Tavares, Floridato take photographs and measurements.
Upon its release, Cool Hand Luke received favorable reviews and became a box-office success. The film cemented Newman's status as one of the era's top box-office actors, while the film was described as the "touchstone of an era". Newman was nominated for the Academy Award for Best Actor, George Kennedy won the Academy Award for Best Supporting Actor, Pearce and Pierson were nominated for the Academy Award for Best Adapted Screenplay, and the score by Lalo Schifrin was also nominated for the Best Original Score. In 2005, the United States Library of Congressselected it for preservation in the National Film Registry, considering it to be "culturally, historically, or aesthetically significant". It currently has a rare 100% rating on the review aggregator website Rotten Tomatoes. The quote used by the prison warden in the film, which begins with "What we've got here is failure to communicate", was listed at #11 on the American Film Institute's list of the 100 most memorable movie lines.
In the 1940s, Lucas "Luke" Jackson (Paul Newman), a decorated war veteran, is arrested for cutting the "heads" off parking meters one drunken night. He is sentenced to two years in prison and sent to a Florida chain gang prison run by a sadistic warden, the Captain (Strother Martin).
Luke fails to observe the established pecking order among the prisoners and quickly runs afoul of the prisoners' leader, Dragline (George Kennedy). When the pair have a boxing match, the prisoners and guards watch with interest. Although Luke is severely outmatched by his larger opponent, he won't stay down. Eventually, Dragline refuses to continue the fight. Luke's tenacity earns the prisoners' respect. Later, Luke wins a poker game by bluffing with a hand worth nothing. Luke comments that "sometimes nothing can be a real cool hand," and Dragline nicknames him “Cool Hand Luke.”
After a visit from his sick mother Arletta (Jo Van Fleet), Luke becomes more optimistic about his situation. The other prisoners start to idolize him after he makes and wins a spur-of-the moment bet that he can eat fifty hard-boiled eggs in one hour. He continually confronts the Captain and the guards, and his sense of humor and independence prove to be both contagious and inspiring to the other prisoners. Luke's struggle for supremacy peaks when he leads a work crew in a seemingly impossible but successful effort to complete a road-paving job in less than one day.
After news of his mother's death reaches Luke, the Captain, anticipating that Luke might attempt to escape in order to attend his mother's funeral, has him locked in the prison punishment box. After this, Luke is determined to escape. After an initial escape attempt under the cover of a Fourth of July celebration, he is recaptured by local police and fitted with leg irons. Upon his return, the Captain delivers a warning speech to the other inmates, beginning with the famous line, "What we've got here is failure to communicate. Some men you just can't reach. So you get what we had here last week, which is the way he wants it. Well, he gets it. I don't like it any more than you men."
Some time later, Luke escapes again by using string to shake a bush and throw off the guards, first visiting a nearby house where he uses an axe to remove his shackles and spreads curry powder to confuse the prison's tracking bloodhounds. While free, Luke mails the prisoners a magazine that includes a photograph of him with two beautiful women. He is soon recaptured, beaten, returned to the prison camp and fitted with two sets of leg irons. Luke is now annoyed by the other prisoners' fawning and reveals that the picture in the magazine is a fake. At first, the other prisoners are angry, but after a long stay in the box, when Luke is being forced to eat a huge serving of rice, the other prisoners help him to finish it.
As punishment for his escape, he is forced to repeatedly dig a grave-sized hole in the prison camp yard, fill it back in, then be beaten. The prisoners observe his persecution, singing spirituals. Finally, as the other prisoners watch from the windows of the bunkhouse, an exhausted Luke collapses in the hole, begging God for mercy and pleads with the bosses not to hit him again. Believing Luke is finally broken, the Captain stops the punishment. The prisoners begin to lose their idealized image of Luke. A fellow prisoner tears up the photograph of Luke with the women.
Seemingly broken, Luke takes one last stab at freedom when he gets the chance to steal a prison dump truck, accompanied by Dragline. Later, Luke tells Dragline that they should part and enters a church, where he talks to God and blames him for sabotaging him so he cannot win in life. Moments later, police cars arrive and Luke is informed by Dragline that the police won't hurt him if he surrenders peacefully. Luke walks to a window facing the police and mocks the Captain's famous line, "What we've got here is a failure to communicate". He is immediately shot in the neck by Boss Godfrey. After Luke's death, Dragline and the other prisoners reminisce about him, and the torn photograph of him with two women is superimposed on an aerial view of a cross-shaped road junction.
Бонни и Клайд (Bonnie and Clyde)
Bonnie and Clyde is a 1967 American crime film directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the title charactersClyde Barrow and Bonnie Parker. The film features Michael J. Pollard, Gene Hackman, and Estelle Parsons, with Denver Pyle, Dub Taylor, Gene Wilder, Evans Evans, and Mabel Cavitt in supporting roles. The screenplay was written by David Newman and Robert Benton. Robert Towne and Beatty provided uncredited contributions to the script; Beatty also produced the film. The soundtrack was composed by Charles Strouse.
Bonnie and Clyde is considered a landmark film, and is regarded as one of the first films of the New Hollywood era, since it broke many cinematictaboos and was popular with the younger generation. Its success prompted other filmmakers to be more open in presenting sex and violence in their films. The film's ending also became iconic as "one of the bloodiest death scenes in cinematic history".
The film received Academy Awards for Best Supporting Actress (Estelle Parsons) and Best Cinematography (Burnett Guffey). It was among the first 100 films selected for preservation in the United States National Film Registry.
In the middle of the Great Depression, Clyde Barrow (Warren Beatty) and Bonnie Parker (Faye Dunaway) meet when Clyde tries to steal Bonnie's mother's car. Bonnie, who is bored by her job as a waitress, is intrigued with Clyde, and decides to take up with him and become his partner in crime. They pull off some holdups, but their amateur efforts, while exciting, are not very lucrative.
The duo's crime spree shifts into high gear once they hook up with a dim-witted gas station attendant, C.W. Moss (Michael J. Pollard), then with Clyde's older brother Buck (Gene Hackman) and his wife, Blanche (Estelle Parsons), a preacher's daughter. The women dislike each other on first sight, and their feud only escalates from there: shrill Blanche has nothing but disdain for Bonnie, Clyde and C.W., while gun-moll Bonnie sees Blanche's flighty presence as a constant danger to the gang's well-being.
Bonnie and Clyde turn from pulling small-time heists to robbing banks. Their exploits also become more violent. When C.W. botches a bank robbery by parallel parking the getaway car, Clyde shoots the bank manager in the face after he jumps onto the slow-moving car's running board. The gang is pursued by law enforcement, including Texas Ranger Frank Hamer (Denver Pyle), who is captured and humiliated by the outlaws, then set free. A raid later catches the outlaws off guard, mortally wounding Buck with a gruesome shot to his head and injuring Blanche. Bonnie, Clyde and C.W. barely escape with their lives. With Blanche sightless and in police custody, Hamer tricks her into revealing C.W.'s name, who was up until now still only an "unidentified suspect."
Hamer locates Bonnie, Clyde and C.W. hiding at the house of C.W.'s father Ivan Moss (Dub Taylor), who thinks the couple—and an ornate tattoo—have corrupted his son. He strikes a bargain with Hamer: in exchange for leniency for the boy, he helps set a trap for the outlaws. When Bonnie and Clyde stop on the side of the road to help Mr. Moss fix a flat tire, the police in the bushes open fire and riddle them violently. Hamer and his posse then come out of hiding, looking pensively at the couple's bodies.
Выпускник (The Graduate)
The Graduate is a 1967 American comedy-drama film directed by Mike Nichols. It is based on the 1963 novel The Graduate by Charles Webb, who wrote it shortly after graduating from Williams College. The screenplay is by Buck Henry, who makes a cameo appearance as a hotel clerk, andCalder Willingham.
The film tells the story of Benjamin Braddock (played by Dustin Hoffman), a recent college graduate with no well-defined aim in life, who is seducedby an older woman, Mrs. Robinson (Anne Bancroft), and then proceeds to fall in love with her daughter Elaine (Katharine Ross).
In 1996, The Graduate was selected for preservation in the U.S. National Film Registry as being "culturally, historically, or aesthetically significant". Initially, the film was placed at #7 on AFI's 100 Years... 100 Movies list in 1998. When AFI revised the list in 2007, the film was moved to #17.
Adjusted for inflation, the film is #21 on the list of highest-grossing films in the United States and Canada.
Benjamin Braddock, who will soon turn 21, returns to his parents' home in the Los Angeles area after graduating from a college on the East Coast. At his graduation party, all of his parents' friends want to know about Benjamin's upcoming plans for graduate school or a career, something about which Benjamin is clearly uncomfortable and anxious to speak about. His parents ignore his anxiety and are only interested in talking about his academic and athletic successes and their plans for him to attend graduate school on a scholarship.
Mrs. Robinson, the wife of his father's law partner, asks Benjamin to drive her home from the party. She invites Benjamin inside and attempts to seduce him, removing her clothes. She tells Benjamin, who becomes increasingly nervous, that she finds him attractive and wants him to know that she is available to him anytime. Mr. Robinson arrives home but neither sees nor suspects anything. He advises Benjamin that he should relax and enjoy his youth while he still can. A few days later, following a humiliating incident with a well-intentioned but absurd birthday gift from his parents, Benjamin contacts Mrs. Robinson and organizes a tryst at a hotel, and their affair begins.
Benjamin spends the summer floating in a pool by day and meeting Mrs. Robinson at the hotel at night. Through their encounters, Benjamin discovers that they have nothing in common but also learns that Mrs. Robinson was forced to give-up college and marry someone whom she did not love when she became pregnant with her daughter, Elaine. Elaine and Benjamin grew up together, but Mrs. Robinson tells Benjamin he is not to date Elaine when she comes home from college at Berkeley.
However, under increasing pressure from his parents to begin a career or enroll in graduate school, Benjamin is set-up on a date with Elaine, whom Benjamin last saw in high school, by his father and Mr. Robinson. Although Mrs. Robinson has made it clear to Benjamin that he is to have nothing to do with Elaine, Benjamin eventually succumbs to the pressure and takes Elaine out on a date. During the course of their date, Benjamin goes out of his way to mistreat and be rude to Elaine, even going as far as taking her to a lewd strip joint, to sabotage the evening. Upon seeing Elaine sobbing, Benjamin kisses her. He explains his motives and that he only asked her out on a date as an obligation from each of their fathers. The two reconcile and each discover that they are able to discuss their current worries and their plans for future happiness. Benjamin admits to Elaine he is recently coming out of an affair with a married woman, but does not disclose who it is.
Upon Benjamin's arriving at the Robinsons' home to take Elaine out again, Mrs. Robinson threatens to reveal to Elaine her earlier relationship with Benjamin. However, Benjamin preemptively blurts out the details of his affair to Elaine before Mrs. Robinson can make good on her threat. Upset and heartbroken, Elaine returns to college and severs all communication with him.
Benjamin resolves that he must marry Elaine and follows her to Berkeley. There, he finds Elaine and accompanies her to a date between her and a classmate, Carl Smith. Later that evening, Elaine confronts Benjamin, asking what he is doing there after having raped her mother while she was drunk. Benjamin reveals his side of the story to Elaine and that he was the one who was pursued by Mrs. Robinson, which further upsets Elaine. Benjamin tells Elaine he will leave her alone, but Elaine asks him to remain until he has a plan.
The following day, Elaine confronts Benjamin again and asks him to kiss her. Although Benjamin wants to marry Elaine and presses her to obtain a blood test so they can wed, Elaine laments that she has already told Carl that she might marry him. Mr. Robinson, who has learned about his wife's affair with Benjamin, goes to Benjamin's apartment in Berkeley and berates him, threatening to have him prosecuted to the fullest extent of the law, should Benjamin ever come near Elaine again. He forces Elaine to drop out of school and takes her away to marry Carl. Elaine leaves Benjamin a note saying that although she loves him, her father's anger would prevent the family from ever accepting Benjamin as Elaine's husband.
Benjamin races back south looking for Elaine but finds Mrs. Robinson, who tells him that she cannot stop the wedding. Benjamin learns from Carl's fraternity brothers that the wedding is taking place in Santa Barbara. En route to the church, his car runs out of gas, forcing him to run the final few blocks to the chapel, arriving just in time to see Elaine and Carl, already married, in the traditional kiss. Watching from the loft at the back of the church, Benjamin bangs on the glass window and screams, "Elaine!" several times, in a desperate attempt to win her over. With some hesitation, Elaine returns a cry of "Ben!" and rushes toward Benjamin. A brawl breaks out as everyone tries to stop her and Benjamin from leaving. Elaine manages to break free from her mother, who claims "It's too late!", to which Elaine replies, "Not for me!" Benjamin and Elaine escape the chapel by barring the chapel's double doors with a wooden cross, trapping the attendees inside. Benjamin and Elaine then flag down a bus. After making their way to the back seat of the bus as it pulls away, Elaine in her wedding dress and Benjamin in tattered clothing, they both initially appear ecstatic about their dramatic escape. Gradually however, this exhilaration subsides, with Benjamin just looking forward and Elaine occasionally looking at Benjamin, into realization of what they have done.
In the closing shot, Elaine and Benjamin are shown through the rear window sitting at the back of the bus as it travels down the road.