Фильмы, получившие премию ОСКАР в 1977 году
Фильмы, получившие премию ОСКАР в 1977 году
On November 25, 1975, Rocky Balboa (Sylvester Stallone) is introduced as a small-time boxer and collector for a loan shark named Anthony Gazzo (Joe Spinell) and is living in the Kensington neighborhood of Philadelphia. The World Heavyweight Championship bout, with undefeated heavyweight champion Apollo Creed (Carl Weathers) defending against Mac Lee Green, is scheduled to take place at the Philadelphia Spectrum on New Year's Day 1976, the year of the United States Bicentennial. When Green drops out because of an injured hand, Creed and his entourage are stymied on what to do. Other contenders say there is not enough time to get into shape.
Creed comes up with the idea of giving a local underdog a shot at the title and, because he likes Rocky's nickname "The Italian Stallion," he selects the relatively unknown fighter. He puts it in lights by proclaiming "Apollo Creed Meets The Italian Stallion." The fight promoter George Jergens (Thayer David) says the decision is "very American"; but Creed says, rather, that it is "very smart."
To prepare for the fight Rocky trains with a 1920s-era ex-bantamweight fighter and gym owner, Mickey Goldmill (Burgess Meredith). Mickey always considered Rocky's potential to be better than his effort—telling him he had heart but also calling him a "tomato" and "leg breaker for some cheap second-rate loan shark" among other endearments, and putting Rocky out of his gym locker preceding the "freak luck" opportunity that comes Rocky's way, and Rocky is initially skeptical of Mickey's motives and timing for wanting to train Rocky for the big fight. Rocky's good friend Paulie (Burt Young), a meat-packing-plant worker, lets him practice his punches on the carcasses hanging in the freezers.
Rocky courts and eventually dates Paulie's shy, quiet sister, Adrian (Talia Shire), who works as a clerk in a local pet store. He draws Adrian out of her shell and, as Rocky's girlfriend, she begins to gain in confidence. The night before the fight, Rocky confides to Adrian that he does not expect to beat Creed, and that all he wants is to go the distance because no one had ever gone the distance with Creed.
On New Year's Day, the climactic boxing match begins. Apollo Creed does not initially take the fight seriously, and Rocky unexpectedly knocks him down in the first round (no fighter had yet floored Creed during Creed's professional career), embarrassing Creed, and the match turns intense. The fight indeed lasts 15 rounds, with both fighters sustaining many injuries; Rocky suffers his first broken nose and debilitating trauma around the eye, and Creed sustains brutal blows to his ribs with substantial internal bleeding. As the match progresses, Creed's superior skill is countered by Rocky's apparently unlimited ability to absorb punishment, and his dogged refusal to be knocked out. As the final round bell sounds, with both fighters locked in each other's arms, an exhausted Creed vows "Ain't gonna be no re-match," to which an equally spent Rocky replies "Don't want one." After the fight, multiple layers of drama are played out: sportscasters and audience are going wild; the promoter/ring announcer George Jergens announces over the loudspeaker that the match was "the greatest exhibition of guts and stamina in the history of the ring"; Rocky calls out repeatedly for Adrian, who runs down and comes into the ring as Paulie distracts the security personnel. As Jergens declares Apollo Creed the winner by virtue of a split decision (8:7, 7:8, 9:6), Adrian and Rocky embrace while they profess their love to one another, not caring about the result of the fight.
Howard Beale (Peter Finch), the longtime anchor of the Union Broadcasting System's UBS Evening News, learns from the news division president, Max Schumacher (William Holden), that he has just two more weeks on the air because of declining ratings. The two old friends get roaring drunk and lament the state of their industry. The following night, Beale announces on live television that he will commit suicide on next Tuesday's broadcast. UBS fires him after this incident, but Schumacher intervenes so that Beale can have a dignified farewell. Beale promises he will apologize for his outburst, but once on the air, he launches back into a rant claiming that life is "bullshit". Beale's outburst causes the newscast's ratings to spike, and much to Schumacher's dismay, the upper echelons of UBS decide to exploit Beale's antics rather than pull him off the air. In one impassioned diatribe, Beale galvanizes the nation, persuading his viewers to shout out of their windows "I'm as mad as hell, and I'm not going to take this anymore!"
Diana Christensen (Faye Dunaway) heads the network's programming department; seeking just one hit show, she cuts a deal with a band of radical terrorists (a parody of the Symbionese Liberation Army called the "Ecumenical Liberation Army") for a new docudrama series called the Mao Tse-TungHour for the upcoming fall season. When Beale's ratings seem to have topped out, Christensen approaches Schumacher and offers to help him "develop" the news show. He says no to the professional offer, but not to the personal one, and the two begin an affair. When Schumacher decides to end the Howard as the "Angry Man" format, Christensen convinces her boss, Frank Hackett (Robert Duvall), to slot the evening news show under the entertainment division so she can develop it. Hackett agrees, bullies the UBS executives to consent, and fires Schumacher at the same time. Soon afterward, Beale is hosting a new program called The Howard Beale Show, top-billed as "the mad prophet of the airwaves". Ultimately, the show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale's signature catchphrase en masse: "We're as mad as hell, and we're not going to take this anymore." At first, Max and Diana's romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their way back together, and Schumacher leaves his wife of over 25 years for Christensen. But Christensen's fanatical devotion to her job and emotional emptiness ultimately drive Max back to his wife, and he warns his former lover that she will self-destruct at the pace she is running with her career. "You are television incarnate, Diana," he tells her, "indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality."
When Beale discovers that Communications Company of America (CCA), the conglomerate that owns UBS, will be bought out by an even larger Saudi Arabian conglomerate, he launches an on-screen tirade against the deal, encouraging viewers to send telegrams to the White House telling them, "I want the CCA deal stopped now!" This throws the top network brass into a state of panic because the company's debt load has made merger essential for survival. Hackett takes Beale to meet with CCA chairman Arthur Jensen (Ned Beatty), who explicates his own "corporatecosmology" to the attentive Beale. Jensen delivers a tirade of his own in an "appropriate setting", the dramatically darkened CCA boardroom, that suggests to the docile Beale that Jensen may himself be some higher power — describing the interrelatedness of the participants in the international economy and the illusory nature of nationality distinctions. Jensen persuades Beale to abandon the populist messages and preach his new "evangel". But television audiences find his new sermons on the dehumanization of society depressing, and ratings begin to slide, yet Jensen will not allow UBS executives to fire Beale. Seeing its two-for-the-price-of-one value — solving the Beale problem plus sparking a boost in season-opener ratings — Christensen, Hackett, and the other executives decide to hire the Ecumenical Liberation Army to assassinate Beale on the air. The assassination succeeds, putting an end to The Howard Beale Show and kicking off a second season of The Mao Tse-Tung Hour.
The film ends with the narrator's stating:
"This was the story of Howard Beale, the first known instance of a man who was killed because he had lousy ratings."
Поезд мчится к славе (Bound for Glory)
Bound for Glory is a 1976 American film directed by Hal Ashby and loosely adapted by Robert Getchell from Woody Guthrie's 1943 autobiographyBound for Glory. The film stars David Carradine as folk singer Woody Guthrie and Ronny Cox, Melinda Dillon, Gail Strickland, John Lehne, Ji-Tu Cumbuka and Randy Quaid.
Bound for Glory was the first motion picture in which inventor/operator Garrett Brown used his new Steadicam for filming moving scenes. Director of Photography Haskell Wexler won an Oscar for Best Cinematography (1976).
All of the main events and characters, except for Guthrie and his first wife, Mary, are entirely fictional. The film ends with Guthrie singing his most famous song, "God Blessed America" (subsequently retitled "This Land Is Your Land"), on his way to New York, but, in fact, the song was composed in New York in 1940 and forgotten by him until five years later.
Much of the film is based on Guthrie's attempt to humanize the desperate Okie Dust Bowl refugees in California during the Great Depression. Many of the scenes were filmed in and around Bakersfield and Kern County, actual places of Dust Bowl strife and settlement. Most of the Texas town of Pampa was filmed in Isleton, CA, a small Delta town with an old main street. Guthrie is best known for his very popular folk songs, most notably, "This Land Is Your Land".
Вся президентская рать (All the President`s Men)
In June 1972, a security guard (Frank Wills, playing himself) at the Watergate complex finds a door kept unlocked with tape. He calls the police, who find and arrest five burglars in the Democratic National Committee headquarters within the complex. The next morning, The Washington Post assigns new reporter Bob Woodward (Robert Redford) to the local courthouse to cover the story, which is thought to be of minor importance.
Woodward learns that the five men, four Cuban-Americans from Miami and James W. McCord, Jr., had bugging equipment and have their own "country club" attorney. McCord identifies himself in court as having recently left the Central Intelligence Agency and the others also have CIA ties. Woodward connects the burglars to E. Howard Hunt, a former employee of the CIA, and President Richard Nixon's Special Counsel Charles Colson.
Carl Bernstein (Dustin Hoffman), another Post reporter, is assigned to cover the Watergate story with Woodward. The two are reluctant partners, but work well together. Executive editor Ben Bradlee (Jason Robards) believes their work is incomplete, however, and not worthy of the Post's front page. He encourages them to continue to gather information.
Woodward contacts "Deep Throat" (Hal Holbrook), a senior government official, an anonymous source he has used in the past. Communicating through copies of The New York Times and a balcony flowerpot, they meet in a parking garage in the middle of the night. Deep Throat speaks in riddles and metaphors about the Watergate break-in, but advises Woodward to "follow the money".
Over the next few weeks, Woodward and Bernstein connect the five burglars to thousands of dollars in diverted campaign contributions to Nixon'sCommittee to Re-elect the President (CRP, or CREEP). Bradlee and others at the Post dislike the two young reporters' reliance on unnamed sources like Deep Throat, and wonder why the Nixon administration would break the law when the President is likely to defeat Democratic nominee George McGovern.
Through former CREEP treasurer Hugh W. Sloan, Jr. (Stephen Collins), Woodward and Bernstein connect a slush fund of hundreds of thousands of dollars to White House Chief of Staff H. R. Haldeman—"the second most important man in this country"—and former Nixon Attorney General John N. Mitchell, now head of CREEP. They learn that CREEP used the fund to begin a "ratfucking" campaign to sabotage Democratic presidential candidates a year before the Watergate burglary, when Nixon was behind Edmund Muskie in the polls.
Bradlee's demand for thoroughness forces the reporters to obtain other sources to confirm the Haldeman connection. When the White House issues a non-denial denial of the Post's above-the-fold story, the editor thus continues to support them.
Woodward again meets secretly with Deep Throat, who finally reveals that the Watergate break-in was indeed masterminded by Haldeman. Deep Throat also claims that the cover-up was not to hide the other burglaries or of their involvement with CREEP, but to hide the "covert operations" involving "the entire U.S. intelligence community", and warns that Woodward, Bernstein, and others' lives are in danger. When Woodward and Bernstein relay this to Bradlee, he urges the reporters to continue despite the risk and Nixon's re-election.
In the final scene, set on January 20, 1973, Bernstein and Woodward type out the full story, with the TV in their office showing Nixon taking the Oath of Office, for his second term as President of the United States, in the foreground. A montage of Watergate-related teletype headlines from the following years is shown, ending with Nixon's resignation and the inauguration of Vice President Gerald Ford on August 9, 1974.
Звезда родилась (A Star Is Born)
Esther Hoffman, an aspiring singer/songwriter, meets John Norman Howard, a famous, successful and self-destructive singer/songwriter, whom, after a series of coincidental meetings, she finally starts dating. Believing in her talent, John gives her a helping hand and her career begins to eclipse his.
Writer and director Frank Pierson, in his New West magazine article "My Battles With Barbra and Jon" summarized it this way:
"An actress is a little more than a woman, an actor a little less than a man (Oscar Wilde) ... The woman in our story is ambitious to become a star, but it is not necessary: it can make her happier and richer, but she could give it all away and not be a better or worse person. With stardom she is only a little more than a woman. For the man, his career is his defense against a self-destructive part of himself that has led him into outrageous bursts of drunkenness, drugs, love affairs, fights and adventures that have made him a legend. His career is also what gives him his sense of who he is. Without it, he is lost and confused; his demons eat him alive. That's why he is a little less than a man. And it is not that her success galls him, or that she wins over him; the tragedy is that all her love is not enough to keep alive a man who has lost what he measures his manhood with; his career."[this quote needs a citation]
And so the conclusion is measured by the theme. He takes his life in the mistaken belief that he will then not drag her down with him.