1997 Oscars: Best Actress

Best Actress '97 was one of those where everyone won something. Julie Christie and Helena Bonham-Carter won critics' prizes, Helen Hunt and Judi Dench won Golden Globes, and Kate Winslet won the box office. If you were around in the late 90s, though, you may recall how unstoppable Helen Hunt was. She was the star of the TV hit Mad About You, for which she won four consecutive Emmys, 1996-99, and of the 1996 film, Twister. TV and movie stardom - isn't an Oscar the logical next step?

The nominees, ranked by me:

1997 Oscars: Best Actor

Hard to oversell what a slam-bang lineup 1997's Lead Actor was, is. One of those years where any one of them could win and it wouldn't be the wrong choice. The one that did win? A great choice!:

The nominees, as ranked by me:

1997 Oscars: Best Supporting Actor

Was it inevitable that Robin Williams would triumph at the Academy Awards?:

In addition to three previous nominations in Best Actor and being a beloved industry titan at the time, he was also only one of two Supporting Actors from Best Picture nominees, the other being As Good As It Gets' Greg Kinnear, at the time best known as the host for E!'s Talk Soup, for which he won two Daytime Emmys. L.A. Confidential and Titanic were better represented in the actress categories. And while The Full Monty won the Screen Actors Guild Award for Outstanding Performance by a Cast (or Best Ensemble, as some call it), none of its individual performers were ever able to gain a foothold in the awards race; only the BAFTAs, as one might expect, nominated Mark Addy and Tom Wilkinson, with the latter winning in a category that also included Rupert Everett for My Best Friend's Wedding (also a Golden Globe nominee) and Burt Reynolds for Boogie Nights (the only one of the nominees below so honored by the Brits). Reynolds found himself in the unfamiliar position of being the critics' pick all season, but while Boogie Nights was called his big comeback, Reynolds hated the movie: he fired his agent and publicly dismissed writer-director Paul Thomas Anderson and his experience working on it. The category's other big comeback story, Robert Forster, had a better time with Jackie Brown, praising his experience and crediting it with revitalizing his career (even on Wikipedia, his bio has a section called "Career Slump" before one labeled "Jackie Brown").

The performances, as I rank 'em: 

1997 Oscars: Best Director

We now start our journey through the 50th Academy Awards, celebrating the films of 1997. Next week we'll do Best Picture, this week we'll do the Acting categories, but today: Best Director.

Now, if you recall, it was a director who set me on this path of 1990, 1997, and 2003: Kevin Costner. Readers voted the years in which he directed a film as the project to follow my The Winner Is John Ford series. Sadly, as we noted yesterday, The Postman was little appreciated in its time, though Costner did "win" Worst Director at the Razzies and its overseas equivalent, Spain's Yoga Awards. Unfair and unjust.

Two directors who missed the Oscar lineup: James L. Brooks for Best Picture nominee As Good As It Gets and Steven Spielberg for Amistad, both nominated at the Directors Guild of America Awards and at the Golden Globes. The Boxer's Jim Sheridan was also nominated at the Golden Globes while missing out at the Academy Awards. And then there's Baz Luhrmann, whose 1996 Romeo + Juliet was no awards favorite in the States but qualified for the next year's BAFTAs, where he was nominated for Best Director against Curtis Hanson, Peter Cattaneo, and James Cameron...and won. 

But there can be only one King of the World at the Oscars: 

Here's how I'd rank 'em:

1997: The Big One

Today we cover the last month of films in 1997, including two Best Picture nominees and Kevin Costner's second directorial effort.

December 19, 1997, is one of the most important dates in cinema history, as it is the release date of James Cameron's Titanic. People forget this, but at the time, disaster was expected. The film went over $100M over budget, shooting went two months over schedule, and the release date was pushed back multiple times before being given an inauspicious pre-Christmas date. "Cameron's ego's done him in this time!" people thought. It soon became the world's highest-grossing film in history, a title it would hold until...James Cameron's Avatar in 2009, another film that people thought would bomb its release (people online said with Avatar: The Way of Water, this time the long-foretold end of Cameron's career would finally take place, it's bound to be a flop, no one cares about these movies! both Avatar films rank above Titanic in all-time box office). The movie was the #1 film at the box office for 15 weekends in a row, 3.75 straight months of Titanic dominance.

But just because something wasn't #1 doesn't mean it didn't make a lot of money. As Good As It Gets came out Christmas Day. The fourth film by James L. Brooks, it follows the unlikely relationship between an obsessive-compulsive ornery romance writer, his big-hearted but sharp-tongued waitress, and his gay artist neighbor. A heartfelt rom-com with very little in the way of special effects, it wound up a sensation, grossing over $300M and winning Oscars for lead actors Jack Nicholson and Helen Hunt.

That was just one of several Christmas Day releases, including The Postman. It had been seven years since Kevin Costner had made his directorial debut with (and won the Oscar for) Dances with Wolves. In the years between, though he didn't direct, he produced many of the films he starred in, some of which (Wyatt Earp, Waterworld) people bring up when talking about Costner as a filmmaker. No one made that error with his films immediately following Dances with Wolves: Robin Hood: Prince of Thieves, JFK, and The Bodyguard. I think the reason is obvious: they were hits, and people want to associate Costner the Director with less-than-successful, big-budgeted epics. Something about the success of Dances with Wolves seemed to stick in people's craw.

The Postman, at least, would finally prove them right. He got the job directing because the source novel's original author, David Brin, felt Costner channeled his titular hero throughout his filmography. The hero being a drifter in a post-apocalyptic United States who is mistaken for a postal service worker, and in a world without mail or phones, he represents healing, communication, hope. Sentimental and sincere, critics hated it and audiences didn't see it. It grossed less than half its budget...worldwide. It would be another six years before he directed again.

But there were more than just three December releases. There were also these:

1997: Good Will, Great Success

Ten movies we get into today, all released between November 7 and December 10, 1997.  December 5th, though, saw the release of our next Best Picture nominee: Good Will Hunting.

Peter Biskind’s Down and Dirty Pictures does a good job of placing us in Matt Damon’s and Ben Affleck’s shoes, two good-looking young actors who haven’t quite hit yet and are waiting for that One Great Part that will showcase their talents. Together, they collaborate on an expansion of a short script Damon wrote in college, a thriller about a Southie math genius recruited by the government. Castle Rock Entertainment buys the script, Rob Reiner and William Goldman make some suggestions about what to take out (the thriller aspect) and what to build up (these therapist scenes…), but the movie doesn’t get made. There’s interest from studios, but no one wants to buy the script due to the writers’ requirement: that they be cast in the roles they wrote for themselves. Fortunately, by this time, they’re friendly with indie success Kevin Smith, who convinces Miramax to make the film and cast the guys…and you know the rest. Movie’s made, released, and is a huge hit, ending up on Top Ten lists, grossing $225.9M on a $10M budget, winning Oscars for Damon & Affleck’s screenplay and for Robin Williams’ against-type performance as the therapist, and cementing the young men’s status as Stars.

And this is what was out in theaters as it started it’s run:

1997: Just Before the Fall

Thirteen films here, all released between September 26 and November 7, 1997, as late Summer turns to early Autumn. 

1997: Exposed

This batch of 15 films covers the period July 16 - September 19, 1997. Two Best Picture nominees came out in this period: The Full Monty on August 13 and L.A. Confidential on September 19.

The Full Monty, in which out-of-work steel workers in desperate need of money form a pseudo-Chippendales act promising full frontal nudity, was one of many British indie/arthouse films that took the US and Oscar by storm in the 1990s; indeed, between 1992 and 1998, nine such films were up for Best Picture. It was an insanely successful film, financially, grossing over $250M on a $3.5M budget. Of course, money isn't everything, but cultural impact is, and The Full Monty can boast that, too: two stage productions, one a musical (2000, book by Love! Valour! Compassion! playwright Terrence McNally), one a non-musical (2013); a television series spin-off that debuted on Hulu last summer; and, I would argue, is the reason other similarly-toned and -themed films from 2003's Calendar Girls to 2014's Pride were greenlit and made.

L.A. Confidential is the movie people today claim came closest to threatening Titanic's Best Picture win (I assume that's quite relative). Adapted from the James Ellroy novel of the same name, it depicts the corruption of the LAPD, its relationship with Hollywood and organized crime, and a trio of cops who decide, yeah, maybe it's time to do the right thing. Titanic may have been the people's choice, but L.A. Confidential was the critics' pick: the Los Angeles Film Critics Association, the New York Film Critics Circle, the National Society of Film Critics, and the Critics' Choice Awards all named it the Best Film of 1997. It was also a hit - $126M gross, $35M budget, hoo yeah.

Interesting to see two Best Picture nominees among these releases, especially as, nowadays, August and September aren't really considered "awards season" periods. Times change. Anyway, the rest of the summer:

1997: The Best Batman

I'm late on this, so let's charge through 2.5 months' worth of 1997 releases, shall we?:

1997: The Two J. Los

1997 begins with two Jennifer Lopez movies, the debut of a modern American master, and Corky St. Clair:

1997: Beginning

Now that 1990 is wrapped, we can get to 1997.

The 1990 Retro Hollmann Awards: Part Three

OK, so we've got my Top Ten, part one of the awards, and part two of the awards. Now, the grand finale: part three of the 1990 Retro Hollmann Awards!

The 1990 Retro Hollmann Awards: Part Two

Continuing to wrap up 1990 after the Top Ten and Day One of 1990 Retro Hollmann Awards. Three acting categories lie ahead, let's go:

The 1990 Retro Hollmann Awards: Part One

This is the first of three posts this week, each dedicated to the 1990 Retro Hollmann Awards. No, I did not make a separate nominations announcement, all will be revealed as we go category by category. Get familiar with my Top Ten of this year, come back, and enjoy.

The first six categories: