Oscar Trivia: Who has had the most consecutive acting nominations?

by Nathaniel R

Given that this year brought us only one repeat acting nominee from last season (Olivia Colman, from The Father to The Lost Daughter)  we thought it would be a fun detour to look back at thespians that Oscar was obsessed with for a relatively intense stretch of time. Which of the 20 actors nominated this year will be back again next year and start a run towards this rarefied list?Care to make a guess? Maybe it'll be Olivia Colman a third consecutive time. We could see it if Empire of Light opens in time.

Now, it's pretty easy to return again and again at The Emmys given that one series can last for several years (and the TV Academy falls out of love slowly), but for the Oscars, where it's new projects and characters every year, it's very dificult to hold interest for years on end...

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"Won and done." The curse of finally winning an Oscar

by Baby Clyde

I recently watched Susan Hayward all but demanding voters hand her the Best Actress Oscar in-movie during 1958's I Want To Live. It got me to thinking about her fellow Academy favourites, whose eventual triumphs were also their Oscar swan song.

If an actor who achieves multiple acting nominations is going to win it’s usually early on. It’s common to bag the statue and then spend the rest of your career chasing another. Bette Davis won on her first 2 attempts and then suffered 8 consecutive losses. Spencer Tracy won on attempts 2 and 3 and then spent the next 30 years and 6 nominations waiting for his name to be called again. Sometimes a veteran actor with multiple nods will finally get the prize and continue on in Oscar good books, like Paul Newman who won on nomination 7 and scored two more in following decades. But a surprisingly high amount of winners who have been made to wait find that their greatest triumph is also their last. 

If you win on your 5th nomination (or later) odds are high that you won't be invited back. Consider...

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Martin Scorsese: Master of the Remake

by Cláudio Alves

As a general rule, remakes don't represent a particularly respected type of film among cinephiles. Concerns about lack of originality abound, as do questions of necessity and the way remakes can lead to the obscuration of older movies. That being said, to characterize every remake as a mercenary minded waste of time isn't fair to the filmmakers involved. Moreover, it can result in the unfair dismissal of interesting cinematic propositions. Remakes can recontextualize past narratives, respond to aesthetics of yore and comment upon them, reinterpret texts and revitalize forgotten styles, deepen pre-established themes or even make us look at a classic through new eyes. They can also highlight the specificities of different artists' visions, exposing how their particularities shape the same raw material. Not all remakes are good, but we can say that about every kind of film project.

Some directors have shown a particular aptitude for this type of project, like Luca Guadagnino with A Bigger Splash and Suspiria. Still, we're not here to talk about that epicurean delight or the transfiguration of Dario Argento's post-Giallo masterpiece. Our subject, today, shall be Martin Scorsese and his mastery of the remake… 

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The Furniture: A Humble Palace of Moral Struggle in David and Bathsheba

"The Furniture" a weekly series on Production Design by Daniel Walber 

The 1951 box office was topped by Quo Vadis, a sword-and-sandal epic with thumping Christian overtones that cost well over $7 million. Crowds flocked to see Peter Ustinov’s Nero fiddle over the burning wreckage of Rome. And when the Academy Awards came around, the film picked up eight nominations.

Nevertheless, this is not column about Quo Vadis. If you scan a bit lower on the list of 1951’s biggest moneymakers, you’ll find David and Bathsheba. Next to Nero’s gold, it seems minor. It grossed less and scored fewer Oscar nominations. But it makes up for this deficit in sparkle with its unique character, intimate drama in a biblical package. The Oscar nominated production design, sprung from a much lower budget, illustrates that as much as anything else...

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Feud: Bette and Joan "And the Winner Is" (Part 2)

Previously... And the Winner Is (Pt 1)

-Wait up for me boys. Tonight I'm bringing you home a baby brother.

by Nathaniel R

Picking up where we left off... and, to quote, Mamacita (the delightfully dry Jackie Hoffman) "pick up the pace, it's Oscar day!"

In the second half of Feud's best episode, after watching Joan & Hedda swaying voters away from Bette Davis and arranging for Joan to both present (Best Director) and accept (Best Actress should Bancroft or Page win), it's time for Oscar night. A whole army of hair and makeup people swam Chez Crawford...

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