The Library of Congress website is a source of vast information. One of the latest posts involves translating Mayan documents.
Here’s a portion of that story:
On March 13 and 14, an international team of linguists visited the Library of Congress to transcribe and translate, for the first time, the “Guatemalan Priests Handbook,” a rare and important manuscript in the Library’s Jay I. Kislak Collection.
Dating from the early 16th century, the manuscript is written in several indigenous Mayan languages. The visiting linguists, experts in the earliest Christian theologies written in the Americas, were Saqijix Candelaria Lopez Ixcoy of Guatemala’s Universidad Rafael Landivar, an authority on the manuscript’s ancient k’iche language; Sergio Romero of the University of Texas, Austin; Frauke Sachse of the University of Bonn; and Garry Sparks of George Mason University.
The “Baseball Dreams and Memories” exhibit at the Martinsville main branch of the Morgan County Public Library is now open and is scheduled to there through March 31. The library is open seven days per week, but the hours vary depending on the day of the week. For more information about the library, http://morgancountylibrary.info/
Here’s a taste of what of what the exhibit looks like:
The RDH Great Stories month long Baseball exhibit is scheduled to open today at the Martinsville, Ind., main branch of the Morgan County Public Library.
The library is open seven days per week, but the hours vary depending on the day of the week. For details about library at 110 S. Jefferson St., Martinsville, Ind., go to http://morgancountylibrary.info/
The exhibit includes items related to multiple major league and minor league professional teams.
(Editor’s note: This is the ninth part in a multi-part series on the winners of the Academy Award for Best Picture. They are being presented in chronological order with “Wings,” the first winner, included among the movies reviewed and/or described in the first part.)
The five Oscar winners for Best Picture winners between 1968 and 1972 all had a certain edgy quality to them, even the musical “Oliver,” based on a Charles Dickens book and the stage musical, fits that description.
Those films were certainly reflective of the times with social upheavals, the U.S. presidency of Richard M. Nixon, the ongoing Vietnam War and many other issues shaking the times.
Oliver!, 1968, directed by Carol Reed
“Oliver!,” the 1968 Academy Award Best Picture winner, not only leaves one humming some of its tunes, but thinking about some of the issues the story raises.
Based on Charles Dickens’ “Oliver Twist,” the movie is story is about a young boy swept into a gang of youthful thieves. It’s a story about poverty, too, and what it forces some people to do. That is still a very relevant issue today at it was in 1968 and when Dickens novel was first published as a serial between 1837–39.
At a little more than 2-1/2 hours, Oliver! is plenty of entertainment per entertainment dollar in addition to being thought-provoking. The memorable songs include “Consider Yourself Part of the Family,” “I’ll Do Anything,” “Food Glorious Food,” and “As Long as He Needs Me.”
The cast includes Ron Moody, Shani Walls, Oliver Reed, Mark Lester, Jack Wild and Hugh Griffith.
Other contenders for Best Picture in 1968 included “Funny Girl,” “The Lion in Winter,” and “Romeo and Juliet.”
Midnight Cowboy, 1969, directed by John Schlesinger
Although its original rating has been changed, “Midnight Cowboy” is the only Best Picture winner with the distinction of having a “X” rating when it was first released.
The film had been approved with an “R,” but after United Artist executives consulted a psychologist who said that the “homosexual frame of reference” and its “possible influence upon youngsters,” the studio agreed to accept the X rating. The Motion Picture Association of America ultimately changed its rating system and the movie got its R rating.
This is a gritty film about a naive, young Texas man, played by Jon Voight, who thinks he can make a great living as a gigolo in New York City. Once there, he meets the street-savvy, homeless, dying Ratso, played by Dustin Hoffman.
In “Midnight Cowboy,” Hoffman as Ratso yells one of the all-time classic movie lines as he walks across NYC street traffic: ” “I’m walkin’ here!” That line reached No. 27 on the American Film Institute’s “100 Years…100 Movie Quotes.” Additionally, the song “Everybody’s Talkin’,'” which is featured throughout the movie, won Harry Nilsson a Grammy Award for Best Male Vocal Performance
In many ways, this is a very down movie, but sadly the story of beautiful dreams destroyed by harsh realities is still a true story for many people today.
The other contenders for the 1969 Best Picture Award included “Anne of the Thousand Days,” “Butch Cassidy and the Sundance Kid,” “Hello Dolly,” and “Z.”
Patton, 1970, directed by Franklin J. Schaffner
The Academy Award Best Picture winning “Patton” is described as a milestone in screen bio-pics by many critics.
George C. Scott extensively studied the brilliant, eccentric Gen. George S. Patton in preparing for the role. Scott displays the brilliance and the temper of the general, who was a major figure in World War II.
Scott, who won the Best Actor Award, had refused the Oscar nomination but won the award anyway. In a letter to the Academy, he stated that he did not feel himself to be in competition with other actors.
In addition to Scott, actors in the film included Karl Malden, Stephen Young and, if you dig further down in the credits, Tim Considine.
Other contenders for the 1970 Best Picture award included “Airport,” “Five Easy Pieces,” and “M*A*S*H.”
The French Connection, 1971, directed by William Friedkin
“The French Connection,” the 1971 Best Picture winner, is a high-energy, landmark film about international smuggling of heroin into New York City and a maverick detective’s efforts to try to stop it.
The great chase scenes through NYC streets are among the greatest in film history, which earned the film editors a well-deserved Oscar.. You will catch yourself moving back and forth in your seat (if you can manage to stay in it) trying to dodge the cars.
Gene Hackman is the star of this film, but the great cast also includes Fernando Rey, Roy Scheider, and Tony LoBianco.
Other nominees for the 1971 Best Picture honor included “Clockwork Orange,” “Fiddler on the Roof,” “The Last Picture Show,” and “Nicholas and Alexandra.”
The Godfather, 1974, Francis Ford Coppola
Hollywood has given us many notable gangster or mob films, but the two Oscar Best Picture winning “Godfather” movies gave us a greater sense of that world than ever before.
“The Godfather,” 1972, and “The Godfather Part 2, 1974, hold the distinction of being the only films that both the original and the sequel won the Academy Award for Best Picture.
In the first movie, we see Marlon Brando as Vito Corleone, the “godfather,” in a role that some critics view as his greatest film performance. The other members of this great cast include Al Pacino, James Caan, Diane Keaton, Talia Shire, Robert Duvall, Sterling Hayden, Abe Vigoda, singer Al Martino, and Alex Rocco.
This is a story about gangsters, but also one about families, not just crime families but in this case about Italian families seeking their version of the American dream and power.
It’s hard to imagine any other movie winning the 1972 Oscar for Best Picture than this Francis Ford Coppola masterpiece, but the other contenders included “Cabaret,””Deliverance,” “Sounder.”
LONDON — “Three Billboards Outside Ebbing, Missouri” has won the top 2018 EE British Academy Film Awards honors. The awards were announced Sunday at a ceremony in Royal Albert Hall, London, on Sunday.
As announced by BAFTA in its press release here’s the rundown on the winners:
Five BAFTAs for “Three Billboards Outside Ebbing, Missouri:” Best Film,Outstanding British Film, Leading Actress (Frances McDermond), Supporting Actor and Original Screenplay Gary Oldman wins Leading Actor for “Darkest Hour.” Guillermo del Toro wins Director for “The Shape of Water>” Daniel Kaluuya wins the EE Rising Star Award.
Sam Rockwell for supporting actor for “Three Billboards. …”
Martin McDonagh for Original Screenplay, for “Three Billboards….”
Supporting Actress went to Allison Janney for her role as Tonya Harding’s mother in “I, Tonya.”
“The Shape of Water” won three awards. In addition to director, the Original Music Award went to composer Alexandre Desplat, and the film also won Production Design.
Roger Deakins won his fourth BAFTA for Cinematography for “Blade Runner 2049,”which also won for Special Visual Effects.
Raoul Peck won the Documentary award for “I Am Not Your Negro.” ”
Film Not in the English Language was won by South Korean drama “The Handmaiden.”
“Coco” took the BAFTA for Animated Film.
Writer/director Rungano Nyoni and producer Emily Morgan received the award for Outstanding Debut by a British Writer, Director or Producer for “I Am Not a Witch.”
“Baby Driver” received the BAFTA for Editing; “Phantom Thread” won for Costume Design;. James Ivory won for Adapted Screenplay for “Call Me by Your Name;” “Dunkirk”for Sound;. “Cowboy Dave” won the British Short Film award.
The Special Award for Outstanding British Contribution to Cinema was presented to the National Film and Television School (NFTS). The school has trained generations of BAFTA-nominated film talent; this year’s British Short Animation award was won by Poles Apart, which is the 13th NFTS graduation film to win a BAFTA.
The Fellowship, the highest honor the Academy can bestow, was presented to director and producer Sir Ridley Scott by HRH The Duke of Cambridge, president of BAFTA, and Sir Kenneth Branagh.
The ceremony featured performances by Cirque du Soleil and the Kanneh-Mason family.
In addition, all of the nominated short films are now available online at https://www.curzonhomecinema.com/.
The British Academy of Film and Television Arts (BAFTA) is a world-leading independent arts charity that brings the very best work in film, games and television to public attention and supports the growth of creative talent in the UK and internationally. Through its Awards ceremonies and year-round programme of learning events and initiatives – which includes workshops, masterclasses, scholarships, lectures and mentoring schemes in the UK, USA and Asia – BAFTA identifies and celebrates excellence, discovers, inspires and nurtures new talent, and enables learning and creative collaboration. For more, visit www.bafta.org.
Four of the five best picture Oscar winners between 1958-1962 were big picture productions, including two musicals. The fifth was a comedy.
Gigi, 1958, directed by Vincente Minnelli.
Thank heaven for musicals like “Gigi,” the 1958 winner of the Oscar for best picture.
And for director Vincente Minnelli it meant another Oscar for best picture.
The story surrounds young a Parisian girl being trained to be a “courtesan,” but finds herself drawn to a man known to be a womanizer.
The New York Times reviewer in 1958 wrote, “There won’t be much point in anybody trying to produce a film of ‘My Fair Lady’ for awhile because (producer) Arthur Freed has virtually done it with ‘Gigi.'” Actually, “My Fa Lady” became a film and won an Oscar for best picture in 1964. More about that movie in a future post.
Aside from the similarity to “My Fair Lady,” “Gigi” was one of the first MGM films to be shot on location. The film is filled with tributes to the French lifestyle.
The memorable songs for this movie include “Thank Heaven for Little Girls,” “I’m Glad I’m Not Young Anymore” and “I Remember It Well.”
The cast includes Leslie Caron, Maurice Chevalier, Louis Jourdan, Hermione Gingold and Eva Gabor. The screenplay’s music by Frederick Loewe and lyrics and screenplay by Alan Jay Lerner.
Other competitors for the 1958 Oscar included “Cat on a Hot Tin Roof” and the Defiant Ones.”
Ben Hur, 1959, directed by William Wyler
Though many watch this just for the chariot race or watch it as their Easter weekend tradition, “Ben Hur” also is a powerful, deeply religious, nearly four-hour long movie that is rich enough in detail to merit several viewings.
Although this movie is largely a Christian movie, agnostics, Jews, Buddhists, Muslims, and others can find meaning in this William Wyler-directed extravaganza. It’s about learning to forgive, being loyal to one’s family, the healing power of belief and, of course, about the story of Jesus Christ as viewed by the author, and about the clashes between the Jews and the occupying Romans.
Although based on Civil War Gen. Lew Wallace’s novel, the story had previously been produced on stage (no kidding) and in films. But this version was the most spectacular yet.
For this writer growing up in Louisville, Ky., this move was such a spectacular for our family that we had to see it in one of the fancy downtown movie theaters, not one of the usual drive-ins where we could bring our beverages and homemade popcorn. If we wanted popcorn, we would have to buy it at the Brown Theater concession stand.
The outstanding cast for this movie included Charlton Heston, Stephen Boyd, Jack Hawkins, Sam Jaffee, Haya Harareet, and Hugh Griffith.
Other 1959 competitors for the honor included “Anatomy of a Murder,” “The Diary of Anne Frank” and “Room at the Top.”
The Apartment, 1960, directed by Billy Wilder.
“The Apartment,” the 1960 Academy best picture is both a comedy and a morality tale about assisting others’ infidelity.
Under the direction of “all-star” director Billy Wilder, the film involves a bachelor (Jack Lemmon) who turns over the key to his apartment to the hierarchy of his employers, a situation he doesn’t like. When gives the key to one boss (Fred MacMurray), he finds that the woman (Shirley MacLaine) he brings is someone Lemmon’s character knows and is attracted to.
Lemmon drew high praise for his performance in this part, following his starring role in “Some Like it Hot.” A New York Times critic wrote Lemmon “takes precedence as our top comedian by virtue of his work in this film.”
This was quite a different role for MacMurray, whom some of us were just getting to know as the dad in “My Three Sons.”
Other contenders for best picture in 1960 included “The Alamo,” “Elmer Gantry” and “The Sundowners.”
West Side Story, 1961, directed by Robert Wise and Jerome Robbins.
Academy Award winning best picture “West Side Story” is one of the best-loved musicals even by those shaking their heads at ballet-style dancing gang members.
Loosely based on William Shakespeare’s “Romeo and Juliet,” the story is about gang and ethnic conflicts on New York City’s West Side. A ground-breaking musical, the story follows the Jets and the Sharks as they fight for their turf while Maria and Tony fight for love.
The magnificent music is by Leonard Bernstein and Stephen Sondheim. The cast includes Natalie Wood, Richard Beymer, Rita Moreno and Russ Tamblyn.
Other films nominated for the 1916 best picture Oscar were “Fanny,” “The Hustler,” and “Judgment at Nuremberg.”
Lawrence of Arabia, 1962, David Lean
While based on a true story, David Lean’s Academy Award best-picture winning “Lawrence of Arabia” is about a descent into madness even though the basic story is a action-filled tale regarding how Brit T. E. Lawrence helped Bedouins in their battle against the Turks during World. War I.
This spectacular movie needs to be seen on a big screen. The cinematography by David Lean’s crew is spectacular showing the beauty and terrors of the desert. It’s truly one of my favorite movies to watch, an intelligent and visual delight as nearly all of David Lean’s films were.
The descent into madness by Lawrence is exemplified by his increasingly dangerous tactics and even his seeming loss of identity. The movie is loosely based on T. E. Lawrence’s “The Seven Pillars of Wisdom.” Although Lawrence is very heroic, he eventually starts to lose his British identity, takes more and more chances, wears Arab garb and takes on action in the desert that few would chance.
Lawrence is played marvelously by Peter O’Toole in his first major film. Others in this great cast include Alec Guinness, Jack Hawkins, Omar Shariff, Anthony Quinn, Claude Rains
Films competing with this Lean masterpiece for the 1962 best picture honor included “The Longest Day,” “The Music Man” and “To Kill a Mockingbird.”
Coming soon: 1963-1967, the age of “They call me Mr. Tibbs,” “The Rain in Spain” and much more.
By the early 1950s, movie studio executives realized that television was a real competitor and they needed to take action to bring audiences back into the movie theaters.
The Turner Classic Movies documentary series “Moguls and Movie Stars” includes an episode on the period from 1950 to 1960 titled, “The Attack of the Small Screens.” Cinerama, Cinemascope and 3D were among the innovations the studios tried, but the solution was big stories told on the big screen in powerful ways.
Several of those big stories hit the big screen between 1953 and 1957.
“From Here to Eternity,” 1953, directed by Fred Zinnemann.
“From Here to Eternity” is a prime example of powerful film-making in the mid-1950s.
This Oscar Best Picture winner draws from the deep well of memories and emotions tied to the days before and day of the bombing of Pearl Harbor as well as its immediate impact. It’s a story of romance, ill-fated affairs, ladies of the evening’s hopes for the future, the military life, the masculine lifestyle and occasional cruelty of the early 1940s, all drawn from the 850-page novel by James Jones.
And, of course, it leads to the day that President Franklin D. Roosevelt referred to as “a day that will live in infamy,” the day of the surprise attack (at least to most people) on Pearl Harbor.
This film includes one of Frank Sinatra’s finest performances and it’s a non-musical role for the legendary singer. Others in the outstanding cast include Burt Lancaster, Montgomery Clift, a gorgeous Donna Reed and many others in relatively minor roles who would become much better known over the years.
The Oscar Best Picture honor was a great choice by the Academy. Other contenders included “Julius Caesar,” “The Robe” and “Shane.”
“On the Waterfront,” 1954, directed by Elia Kazan.
The strikingly powerful, Oscar-winning “On the Waterfront” featured Marlon Brando’s greatest performance in a career filled with outstanding acting.
This story is about a dock worker who believes he could have been a champion boxer, but now is subject to the whims of a mob-run union* with which his brother has strong ties. Now, he faces major moral decisions.
Brando’s character is pulled in different directions by people including union bosses (including his brother) who want him not to talk to Congressional investigators and by a Roman Catholic priest and a love interest who want him to testify at a hearing.
In addition to Brando, the great cast includes Karl Malden, Eva Marie Saint, Lee J. Cobb and Rod Steiger.
This movie won eight Oscars.
Other contenders for the Best Picture award included “The Caine Mutiny,” “Country Girl” and “Seven Brides for Seven Brothers.
“Marty,” 1955, directed by Delbert Mann.
The Oscar-winning picture “Marty” was a nice, relatively small movie compared to the other four films that won that award between 1953 and 1957. The competition for the award wasn’t as strong as in some previous years.
The story was adapted for the big screen from a television play written by Paddy Chayefsky. It is a story about a Bronx, N.Y., butcher played by Ernest Borgnine who unexpectedly finds love. He escapes family squabbles and finds the strength to escape from what he believes is a meaningless existence.
Borgnine won the best actor Oscar for his sensitive performance. Also in the cast were Betsy Blair, Joe Mantell and Esther Manciotti.
Other contenders for the 1955 best picture Oscar included “Love is a Many Splendored Thing,” “Mr. Roberts,” and “Picnic.”
Around the World in 80 Days, 1956, directed by Michael Anderson.
“Around the World in 80 days” is a rollicking, Oscar Best Picture winning adaptation of the Jules Verne novel. It’s a lot more fun than many Best Picture winners, even though some critics claim it has lost much of its charm over the years.
David Niven heads up the extraordinary cast that includes some new stars in major roles and several existing stars in cameo roles. The other stars in this film included Shirley MacLaine in another breakout role (after winning a Golden Globe award earlier for her part in The Trouble with Harry), the outstanding comic Cantinflas, and Robert Newton. The cameos included Buster Keaton, John Gielgud, Robert Morley, Marlene Dietrich and even Frank Sinatra.
Set in the 19th century, the story is about an Englishman’s bet that he could travel around the world in 80 days. The means of traveling around the world in this pre-airplane and pre-automobile era were by ships, trains, stage coaches, hot air balloon and even elephants.
If you get a chance to see this on the big screen or even a 4K Ultra HD or HD television, go for it..
Other contenders in 1956 included “Giant,” “The King and I” and “The Ten Commandments.”
“The Bridge on the River Kwai,” 1957, directed by David Lean.
I confess “The Bridge on the River Kwai” is one of my all-time favorite films, at least in my top 50. I like it so much that when I saw it was available on 4k Ultra HD, I ordered it.
It is a big screen extravaganza with big messages about the madness of war. Toward the end of the movie, a doctor calls what has happened “madness.” Directed by David Lean, one of the all-time great directors, his “Lawrence of Arabia,” which won another best picture Oscar in 1962, also showed a major character’s descent into madness. More about that in a future post.
The madness here is not just the Japanese forcing British prisoners of war to build a bridge, but a British colonel played by Alec Guinness who persuades the Japanese to let the British control the building of the bridge. The colonel believes that activity will keep up morale for his fellow British soldiers, whom had been ordered to surrender by the British hierarchy.
In the meantime, a former American prisoner of war (played powerfully by William Holden) who had escaped the inescapable island is recruited to join a British team that intends to blow up the bridge.
By the way, there is a great deal of similarity between the POW camp commanders’ warning/welcome to the new POWs in Bridge and the Klingon commander’s warning to Capt. James T. Kirk and Dr. Leonard McCoy in “The Undiscovered Country” when they arrive as prisoners on an icy planet that is known as being an alien graveyard. What the Japanese commander first warns and decades later the Klingon warns is that there are no guard towers because there is no need for them. If you check out the two scenes, you will be struck by the similarities.
In addition to Holden and Guinness, the outstanding cast included Jack Hawkins (no known relation), Sessue Hayakawa, James Donald and Geoffrey Home.
The other contenders included (who didn’t really have much of a chance against Bridge) Peyton Place, Sayonara, Twelve Angry Men and Witness for the Prosecution.
*A personal note: this writer believes unions have done much more good than harm, even though that doesn’t apply to all unions. The writer and his family members have benefited from what his father earned because of his union.