Almost There: Lois Smith in "Five Easy Pieces"

by Cláudio Alves

No matter how respected or prolific a thespian may be, the glow of Oscar gold isn't guaranteed. Just ask Lois Smith, a titan of the contemporary American stage with nearly 150 screen credits to her name. The closest she ever came to the Academy's good graces was at the start of the 70s and the New Hollywood craze, when playing Jack Nicholson's pianist sister in Five Easy Pieces. Bob Rafelson's film is something of a classic for those interested in this era of American cinema, but its legend tends to circle around the leading man and, maybe, Karen Black. Still, Smith delivers a performance worth considering and, as the title of this post suggests, she was almost there…

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"Harry and Tonto" @50: In defense of Art Carney's Oscar Win

by Cláudio Alves

After the dust settles and the rush of euphoria dissipates, an Oscar victory can be cause for woe rather than joy. Sometimes, a win is a loss in the big picture, even something of a curse. The effects may not be immediate or felt in the flesh by the prizewinner. Not in life, at least. It's their legacy that takes the toll. Those considered robbed will always have their defenders, misfortune becoming legend, another kind of validation no less impressive than the little gold man they failed to grasp. But those who the Academy rewarded are a different story. They become villains in recollection, mayhap fools. It's a sad affair because, more often than not, those whom history paints in these unfortunate colors are themselves robbed. The glory of victory isn't theirs to enjoy, merit buried by outrage over injustice. 

Such is the case of Art Carney, who won the Best Actor Oscar at the 47th Academy Awards for the now 50-year-old Harry and Tonto, besting such high-regarded turns as Pacino in The Godfather Part II and Nicholson in Chinatown. Did he deserve the prize? Maybe not. Does he deserve to have his triumph regarded as a mistake, a joke, a robbery? Hell no…

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Best Actress '74 @50: The Greatest of All Time

by Cláudio Alves

Last weekend, on Mother's Day of all days, Alice Doesn't Live Here Anymore celebrated its 50th anniversary. The occasion calls for some acknowledgment here at The Film Experience, where actressexual Oscar obsessives abound. After all, Ellen Burstyn won the Best Actress race at the 47th Academy Awards, triumphing over what could be described as the greatest lineup in the category's history. Along with the eventual victor, AMPAS nominated Diahann Carroll in Claudine, Faye Dunaway in Chinatown, Valerie Perrine in Lenny, and Gena Rowlands in A Woman Under the Influence. They might have also nominated Liv Ullmann in Scenes from a Marriage had she been eligible, but we'll get there in time. 

As Faye Dunaway presents a new doc at Cannes, the stars have aligned to relitigate the 1974 Best Actress race. Are you ready? Let's go…

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Almost There: Gene Hackman in "The Conversation"

by Cláudio Alves

This past weekend, Francis Ford Coppola's The Conversation celebrated its 50th anniversary. Originally released in 1974, the film represents the peak of the paranoia thriller craze of that decade, encapsulating a cultural zeitgeist along with the creative zeal of New Hollywood. And yet, it's usually overshadowed by the director's other release that year – Best Picture winner The Godfather Part II. Thankfully, at The Film Experience, we've regularly showered praise on The Conversation, whether in Cannes at Home musings or Hit Me With Your Best Shot analysis. That said, one element remains under-discussed, a facet of this masterpiece so essential that, without it, the entire project would fall apart. It's Gene Hackman, of course…

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Almost There: Robert De Niro in "Mean Streets"

by Cláudio Alves

Fifty years ago today, the 46th Academy Awards took place in Los Angeles. It was a starry night, as Oscar nights often are, and The Sting would end the ceremony as its big winner. The Exorcist and The Way We Were also did well for themselves, illustrating a push-and-pull between modernity and tradition as the industry tried to reckon with the nascent Old Hollywood movement within its ranks. Indeed, that same year, an up-and-coming New York-based filmmaker had premiered his third feature to great acclaim. Amid its cast was an actor who'd become one of his most important collaborators, a creative partnership that lasts till today and has shaped a good part of American film history.

Mean Streets was also the first time Robert De Niro entered the Oscar conversation. Critics singled him out for his turn as Scorsese's Johnny Boy…

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