Category: DVD Report

The DVD Report #782

Father Stu is an odd duck of a movie.

Based on the true story of Stuart Long, a Golden Gloves champion boxer turned would-be actor turned priest, the film was the brainchild of star Mark Wahlberg who began working on the film in 2016 with writer-director David O. Russell who directed him in 2010’s The Fighter. Russell eventually lost interest and Wahlberg turned to Rosalind Ross, co-star Mel Gibson’s partner since 2014 and the mother of Gibson five-year-old youngest son. The film marks Ross’ writing and directing debut.

With a 36% Metacritic score, a 40% Rotten Tomatoes score, and a 95% audience score, you get the impression that something is amiss, and you would be right.

The film appeals primarily to fans of Wahlberg, an actor who hasn’t had a major critical success since 2013’s Lone Survivor. Like 2020’s Joe Bell, Father Stu is a well-intentioned film about a real-life character that fails to do justice to its subject.

Joe Bell was about a father grieving for his late son, a gay teenager who left home after being tormented by school bullies. It was well acted by Wahlberg, Connie Britton as his wife, Gary Sinise as a compassionate sheriff, and newcomers Maxwell Jenkins and Reid Miller as Wahlberg’s sons, but the execution was poor.

Father Stu spends too much time on Wahlberg’s character as a rebel characterized as having aged out of boxing. The truth is that he was only 24 and could have transitioned from amateur to professional boxing but chose not to.

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The DVD Report #781

Sony has released a 70th Anniversary Edition of David Lean’s Lawrence of Arabia and a 65th Anniversary Edition of the director’s The Bridge on the River Kwai in Ultra 4K UHD Steelbook editions of the films. These are, however, not restorations. They are reissues of previous 4K releases of the film, but with a catch. The previous release of Lawrence of Arabia was done as part of the pricey Columbia Classics Ultra 4K UHD Collection that also included Mr. Smith Goes to Washington, Dr. Strangelove, Gandhi, A League of Their Own, and Jerry Maguire. Dr. Strangelove is the only one to have received a separate 4K release thus far. The Bridge on the River Kwai is still available in its non-steelbook slipcase at a lower price.

Lawrence of Arabia looks and sounds more stunning than ever in Ultra 4K UHD. Previously restored in 1988 and again in 2012 for its 50th anniversary, the 1988 restoration was a particularly difficult one as it involved re-recording the sound for newly found lost footage without a soundtrack by actors more than 25 years older than they were when they first performed their roles. Peter O’Toole, who played the title role, and other principals were more than happy to oblige. Some, like Jack Hawkins who played Lawrence’s Commanding General, had died and their lines had to be dubbed by other actors. Arthur Kennedy, who played a thinly disguised version of documentarian Lowell Thomas, was particularly hard to track down. He was found living in Savannah, Georgia where he recorded his dialogue on tape at a local radio station.

Although the film plays exceptionally well on today’s large screen TVs, at the time it was made it could only be appreciated on large theatre screens. If ever there was a film that should be seen on the biggest screen you can find, this one is it. The vast desert panoramas cry out for it.

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The DVD Report #780

Double Indemnity, 1776, and The Untouchables have all been newly released on 4K Ultra High-Definition discs.

For those unfamiliar with the format, 4K UHD discs contain digital optical data storage that is an enhanced variant of the Blu-ray format. They are incompatible with non 4K Ultra HD Blu-ray players but 4K HD Blu-ray players will play traditional Blu-rays and DVDs. Some versions of Xbox and PlayStation will also support 4K UHD discs. The advantage that these discs have over traditional Blu-ray discs is that they support both high dynamic range by increasing the color depth to 10-bit-per-color and a greater color gamut than is supported by conventional Blu-ray video.

To differentiate Ultra HD Blu-ray releases from standard releases, the format usually uses a black opaque or slightly transparent keep case packaging format instead of a blue one. The case size, however, is the same as that of a traditional Blu-ray disc.

The first 4K Ultra HD releases were made on February 14, 2016. The initial releases were primarily action-adventure films, but other genres have slowly been given their own chance to shine in the format. That said, Double Indemnity, 1776, and The Untouchables represent still-under-represented genres.

1944’s Double Indemnity is not the first film noir to be released on 4K UHD, that distinction belongs to Orson Welles’ Touch of Evil. Neither is it the first Billy Wilder film to be released in the format, Some Like It Hot and The Apartment having been previously released. It is, however, the first 1940s film noir and a rare 1940s black-and-white film to be released in the format, joining only Welles’ Citizen Kane and Alfred Hitchcock’s Saboteur and Shadow of a Doubt in that respect.

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The DVD Report #779

Flower Drum Song is the last of the filmed versions of a Rodgers & Hammerstein Broadway musical to be released on Blu-ray.

Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music, as well as two versions of the made directly for the screen State Fair had been previously released in the format. The made-for-TV Cinderella has all three of its versions released on DVD but not Blu-ray. Allegro, Me and Juliet, and Pipe Dream were never filmed.

Flower Drum Song is based on a novel by C.Y. Lee. It was first presented on Broadway in December 1958. Its original cast was headed by recent Oscar winner Miyoshi Umeki (Sayonara) as a mail-order bride, Larry Blyden (On a Clear Day You Can See Forever) as a nightclub owner, singer Pat Suzuki as his principal singer-dancer and love interest, Hawaiian singer Ed Kenney as the intended groom, Keye Luke (Charlie Chan’s no. 1 son) as his conservative father, Juanita Hall as his liberal aunt, Patrick Adiarte as his younger brother, Jack Soo (TV’s Barney Miller) as the nightclub’s emcee, and newcomer Arabella Hong as a seamstress secretly in love with Kenney.

The cast of the 1961 film version directed by Henry Koster (The Bishop’s Wife) is headed by Nancy Kwan, straight from her sensational film debut in The World of Suzie Wong in Suzuki’s role; James Shigeta, straight from Bridge to the Sun in Kenney’s role; Jack Soo moving up to Larry Blyden’s role; Miyoshi Umeki reprising her Broadway role but no longer given top billing; Benson Fong (Charlie Chan’s no. 3 son) replacing Keye Luke; Juanita Hall and Patrick Adiarte reprising their Broadway roles; Victor Sen Young (Charlie Chan’s no. 2 son) in Jack Soo’s old role; and newcomer Reiko Sato replacing Helen Chao.

The story has been reworked with an emphasis on the characters now played by Kwan and Shigeta rather than those played by Umeki and Soo on Broadway. The songs have also been re-ordered with only “Like a God” missing. It is spoken in a coffeehouse scene rather than being sung by Shigeta’s character.

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The DVD Report #778

Paul Thomas Anderson’s Licorice Pizza is a film that it took two viewings for me to appreciate.

Initially, I dismissed it as an improbable take on California teenagers in 1973, but on second viewing found the breezy relationship between 15-year-old actor-turned-entrepreneur Cooper Hoffman and 25-year-old Alana Haim, his former babysitter, now his “not my girlfriend” girlfriend, quite endearing.

It turns out that Hoffman’s film, like Kenneth Branagh’s Belfast, a fellow nominee for last year’s Best Picture and Directing Oscars, is a memory piece. It’s based on Anderson’s memories of the era as well as those of producer Gary Goetzman, the former actor whose life the central character is based on.

Goetzman, with Tim Matheson, played one of Lucille Ball’s 18 children (half hers, half Henry Fonda’s) in 1968’s Yours, Mine and Ours. Matheson and Ball are spoofed in the film in which they are played by Skyler Gisondo and Christine Ebersole.

Also spoofed in the film are William Holden and Sam Peckinpah, with names changed, played by Sean Penn and Tom Waits, and Jon Peters, using his real name, played by Bradley Cooper, with his permission.

Hoffman, who plays the Goetzman character in the film is the son of Anderson’s friend and frequent collaborator, the late Philip Seymour Hoffman. He was once babysat by Haim at Anderson’s house when he was 13. She is the youngest member of the rock group Haim. The actors playing her parents and sisters in the film are her real-life parents and sisters. Her mother is a former art teacher who Anderson had a crunch on.

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The DVD Report #777

Uncharted was originally planned several years ago as a David O. Russell film with Mark Wahlberg, Robert De Niro, and Joe Pesci starring in the film version of the popular video game. By the time it finally got made, Russell, De Niro, and Pesci had dropped out and Wahlberg was reassigned to the film’s second lead with Tom Holland taking over the starring role.

Those familiar with the video game seem to be disappointed in the film. Those not familiar with the game, tend to find it an exhilarating adventure in the tradition of Raiders of the Lost Ark. That’s quite funny when you think about it, considering that Steven Spielberg’s Raiders of the Lost Ark was based on old movie serials which had more in common with today’s video games than any other source for today’s films.

Films can’t be expected to be reproductions of video games any more than they can be expected to be reproductions of books, stage plays, or any other source material from which they are derived. Not being familiar with the game, I found the film a pleasant experience highlighted by the ingratiating performances of Holland and Wahlberg. Holland, who came to fame as one of the original stars of Billy Elliot the Musical, has been a major screen presence since his breakout performance in 2012’s The Impossible. Wahlberg, whose breakout performance was in 1997’s Boogie Nights, has been great in such films as The Departed, for which he was nominated for an Oscar for his performance, and The Fighter, for which he was nominated as one of the Best Picture nominee’s producers.

At present, Holland is a top box-office star thanks primarily to the Spider-Man franchise, which reached its apex with last year’s Spider-Man: No Way Home while Wahlberg’s films have slipped in popularity both with critics and at the box-office. Together, however, make a nice team.

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The DVD Report #776

1962’s The Counterfeit Traitor might not be William Holden’s best-known film, but it’s a very good one that contains one of his best performances.

Known for such films as Sunset Boulevard, Picnic, and The Bridge on the River Kwai, Holden plays real-life Eric Ericson, an American-born oil trader of Swedish descent who becomes a Swedish citizen labeled a Nazi sympathizer because he continues to do business with Germany after the outbreak of World War II. Recruited by the British, he acts as a spy in consort with a beautiful German Allied agent to help win the war. His work results in the safe evacuation of many, like the work of the more celebrated Oskar Schindler in Schindler’s List.

Directed by George Seaton, who previously directed him in 1954’s The Country Girl, Holden plays the kind of role that Humphrey Bogart would have played a decade or two earlier. It was the second of three films he starred in that year. Leo McCarey’s Satan Never Sleeps came before it while Jack Cardiff’s The Lion came after it.

As good as Holden is in this, his co-star Lilli Palmer is even better. She dominates the middle portion of the film and is especially haunting in two scenes. In the first, she confesses her sins to a Nazi spy masquerading as a priest. In the second, she is marked for execution by the Gestapo as Holden works desperately to save her.

Palmer was riding high at this point in her career, following acclaimed performances in But Not for Me, Conspiracy of Hearts, and The Pleasure of His Company, and was given equal billing to Holden even though her role is significantly shorter. Had she been listed as a supporting player she would surely have been in contention for a Best Supporting Actress Oscar alongside Angela Lansbury in The Manchurian Candidate and Patty Duke in The Miracle Worker. Sadly, she never had another role as good, although she did stand out in supporting roles in such subsequent films as Operation Crossbow and The Boys from Brazil.

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The DVD Report #775

Singin’ in the Rain, newly upgraded to 4K Ultra High Definition by Warner Bros., is referred to in some quarters as the best Hollywood musical of all time. That, however, is something of an over-statement. Fans of The King and I, South Pacific, West Side Story, My Fair Lady, The Sound of Music, Oliver!, Fiddler on the Roof, Cabaret, 1776, Chicago, and other stage adaptations might vehemently disagree. Perhaps, then, it would be better to say that it is the best original screen musical. That still puts it at odds with lovers of The Wizard of Oz, Meet Me in St. Louis, An American in Paris, Seven Brides for Seven Brothers, and Gigi, among others. Let’s just say that the 1952 MGM film is the best musical never to have been nominated for an Oscar for Best Picture.

Co-directed by Stanley Donen and Gene Kelly, Singin’ in the Rain was nominated for just two Oscars, Best Supporting Actress (Jean Hagen) and Best Scoring (Lennie Hayton). If the film had to be nominated for just two, those were the two that most deserved the nominations.

The film is dominated by the singing and dancing of Kelly and Donald O’Conner with a dubbed Debbie Reynolds as the film’s third star. Yes, Debbie Reynolds, not Jean Hagen, is the one who is dubbed. According to the film’s deceit, Hagen, who plays the dumb blonde movie star with the high-pitched voice is the one who has to be dubbed by Reynolds’ character in the film within the film but Hagen actually did the dubbing in her own perfectly modulated real voice while Reynolds had to wear a body mike so her low voice cold keep up with Kelly and O’Connor. The song “Would You?,” which Reynolds is seen dubbing for Hagen was performed by Betty Noyes, who had a richer singing voice than Reynolds.

Kelly was a harsh taskmaster whose bullying was hated by both O’Connor and Reynolds, who he pushed. The Make ‘em Laugh tumbling routine that Kelly forced O’Connor to do was something he did as a child long before his 4-pack-a-day cigarette habit made climbing walls a task that put him in the hospital. Nevertheless, that scene and Kelly’s splashing to the title tune are the film’s musical highlights.

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The DVD Report #774

The Criterion Collection’s newly released Blu-ray of Vittorio De Sica’s Miracle in Milan is the 4K restoration of the 1951 film that was rereleased theatrically in France and Italy in 2019 and subsequently throughout the rest of world, reaching the U.S. in February 2022.

This unique film was originally written by De Sica’s frequent collaborator, Cesare Zavattini, as a novel in 1940. Intended as a film, it couldn’t be made then because of World War II. By the time it was eventually filmed, De Sica had eclipsed Roberto Rossellini as the premier director of Italian neorealist films.

Rosselini’s reputation rests on three films: 1945’s Rome, Open City, 1946’s Paisan, and 1948’s Germany Year Zero, after which he moved on to other things. De Sica’s masterpieces of the genre began with 1944’s The Children Are Watching Us and continued with 1946’s Shoeshine and 1948’s Bicycle Thieves. The latter two of which won honorary Oscars for Best Foreign Language Film before such films were given a category of their own. The neorealist fairy tale, Miracle in Milan, followed by 1952’s harshly realistic Umberto D. ended De Sica’s involvement in the genre.

Miracle in Milan was so popular in its original release that it won the New York Film Critics Circle award for Best Foreign Film over Rashomon and was nominated for BAFTA awards for Best Picture and Actor (Francesco Golisano).

The film begins with a little old lady (76-year-old Emma Gramatica) finding a baby in her cabbage patch. She rescues him and raises him as her grandson, calling him Toto. When she dies, he is sent to an orphanage but never loses the sense of wonder she instilled in him. Aged out of the orphanage, Toto (now played by Francesco Golisano) is unable to find work, but his infectious joy brings goodness and light to a community of shantytown shacks on the outskirts of Milan. There he falls in love with Edvidge (Brunella Bovo), a young nanny to an impoverished family forced to take up residence in one of the shacks. When it all seems hopeless, the ghost of Toto’s grandmother returns with two angels and a dove to give him, Edvige, and their friends renewed hope. The film’s fantastic ending remains one of the most satisfying in cinema history.

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The DVD Report #773

Spider-Man: No Way Home, newly released on Blu-ray, 4K Ultra HD, and DVD by Sony, was the first film released to theaters during the Covid-19 pandemic to earn more than $1 billion at the box-office. The emotionally riveting superhero movie was the 15th Marvel film nominated for a Best Visual Effects Oscar, an award that only 2004’s Spider-Man 2 went on to win.

The film’s cast and plot were kept secret during filming with rumors of both building toward the film’s premiere. Even if you haven’t seen it or at least read the film’s credits on IMDb., you would have to be deaf and blind not to know by now that it is about Spidey in the Multiverse, and that it resurrects villains from previous Spider-Man films such as Green Goblin (Willem Dafoe), Electro (Jamie Foxx), and Doc Ock (Alfred Molina), as well as the two Spider-Men from the previous 21st Century series versions (Tobey Maguire, Andrew Garfield). To everyone’s delight, Maguire and Garfield do not just put in cameo appearances, they join current Spider-Man, Tom Holland, in bringing the film to its remarkable conclusion.

Joining the three Spider-Men in their fight for good against evil are Zendaya as MJ, Jacob Batalon as Ned Leeds, Jon Favreau as Happy Hogan, Maria Tomei as Aunt May, and Benedict Cumberbatch reprising his Doctor Strange role.

Holland used his star power to save the film from cancellation by forcing negotiations between Sony (the film’s producer) and Disney (which owns most of the Marvel franchise). Under terms of the new deal, not only does the Sony film take place within the Marvel Cinematic Universe (MCU), but Spider-Man can also appear in both MCU films and as part of Sony’s own Spider-Man franchise.

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The DVD Report #772

2022’s Death on the Nile is Kenneth Branagh’s second film version of an Agatha Christie novel, one that works much better than his 2017 version of Murder on the Orient Express.

The actor-writer-director plays Christie’s mythical detective, Hercule Poirot, in both films. With both having been filmed to better advantage in the 1970s, one wonders why Branagh didn’t choose different Poirot novels to film instead of putting himself through critical comparisons with Albert Finney and Peter Ustinov whose versions still hold up to repeated viewings on home video.

The biggest criticism of Branagh’s interpretation of Poirot in Murder on the Orient Express was his hideous, large mustache. He tackles that early on in Death on the Nile with a prologue set in the trenches of World War I in which he is injured and grows the mustache to hide his scars. Whether because of that or not, the mustache is less bothersome this time around.

Branagh takes liberties with Christie’s novel and the screenplay for the 1978 version of Death on the Nile with new characters, changes in returning characters and their backgrounds, as well as their interactions in the new version. He even adds a third murder to the two-murder plot, all of this without altering either the main plot or the ending.

The changes Branagh makes are good ones. Inserting an interracial romance and a lesbian couple into a 1930s British mystery can be tricky, but Branagh makes both realistic and believable.

The 1978 version had an all-star cast of suspects including Mia Farrow, Simon MacCorkindale, Bette Davis, Maggie Smith, David Niven, Jane Birken, George Kennedy, Jack Warden, Olivia Hussey, and Angela Lansbury. Branagh’s version gives us a less starry cast featuring Gal Gadot as the first murder victim, played by the less than stellar Lois Chiles in the 1978 version, with Armie Hammer in MacCorkindale’s role as her husband, and Annette Bening and Sophie Okokedo the most prominent cast members of the remaining players.

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The DVD Report #771

Ordinary People has finally been given a U.S. release on Blu-ray by Paramount. One of the most emotionally charged Oscar winners ever, it still seems odd to me that Kramer vs. Kramer and Terms of Endearment, two other emotionally charged films from the same era, are more often referred to by film lovers as the films that they remember best from the era.

1979’s Kramer vs. Kramer was about a mother who leaves her husband and young son to fend for themselves. 1983’s Terms of Endearment was about the love-hate relationship of a mother and daughter. 1980’s Ordinary People was about the survival of a young man who tried to commit suicide after the drowning death of his brother. Timothy Hutton at 20 justly became the youngest actor to win an Oscar for Best Supporting Actor, a record that still stands, for that role. Mary Tyler Moore, who from all accounts was the bubbly nice girl she played on TV was his equal as the boy’s emotionally cold mother with Donald Sutherland as his perplexed father, Judd Hirsch as his psychiatrist, and Elizabeth McGovern and Dinah Manoff as potential girlfriends also excellent in their roles. First-time director Robert Redford also won an Oscar as did Alvin Sargent for his screenplay based on Judith Guest’s novel. Moore and Hirsch were nominated for their performances.

Extras on the Paramount release include on-camera interviews with Hutton and Guest.

Another film newly released on Blu-ray by Paramount from the same era is 1988’s The Accused starring former child star Jodie Foster in the comeback role that won her the first of her two Oscars. Having seen a preview of the film in which she plays a rape victim, the actress thought her performance was so bad that she decided to give up acting until she started receiving awards recognition for the role.

Kelly McGillis, a hot property thanks to the success of Top Gun two years earlier, was originally cast in the role but turned it down due to the fact that she had herself been brutally raped in 1982. She fought for and won the role of the prosecuting attorney originally intended for Jane Fonda, suggesting Foster for the role of the victim.

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The DVD Report #770

Kino Lorber has released a Blu-ray edition of the 1941 version of Fannie Hurst’s Back Street starring Margaret Sullavan and Charles Boyer, some months after releasing the 1961 version starring Susan Hayward and John Gavin. Still missing in the format is the original 1932 version starring Irene Dunne and John Boles.

Back Street is the seminal women’s weepie by the author of Humoresque, Imitation of Life, and Four Daughters, all of which were filmed twice. Humoresque in 1920 and 1946, Imitation of Life in 1934 and 1959, and Four Daughters in 1938 and in 1954 as Young at Heart. The 1932 version of Back Street is out of print. The others are all available on DVD. Blu-rays Young at Heart and a double disc of both versions of Imitation of Life are also available.

The 1932 version of Back Street, like many of Irene Dunne’s films which were remade, was kept from distribution for many years by Universal which remade the RKO film. Although Kino Lorber had asked Universal for the video rights along with the other two versions, the request was denied. Could it be that there was a prior commitment to another distributer, such as Criterion which restored and released the 1936 version of Show Boat, the 1937 version of The Awful Truth, and the 1939 version of Love Affair, three other Dunne gems that were the subjects of remakes? Hopefully so.

Interestingly, Margaret Sullavan, who was at the peak of her Hollywood career after the dual 1940 success of The Shop Around the Corner and The Mortal Storm, wanted Charles Boyer, Dunne’s Love Affair co-star, as her co-star in the 1941 remake of Back Street. Why Boyer and why would a star of his then high ranking want to play the secondary role of the seemingly selfish man who keeps the love of his life on the back burner? The astute Sullavan probably wanted Boyer because she knew he would bring much more to the role than the dullish John Boles brought to the 1932 version. Boyer, for his part, was flattered by Sullvan’s offer to take second billing behind Boyer whose role was clearly secondary to hers. His ego couldn’t refuse.

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The DVD Report #769

Guillermo del Toro’s 2021 version of Nightmare Alley is the fifth and last of the year’s ten Best Picture Oscar nominees to be released on DVD and Blu-ray prior to the awards being given out next Sunday. It follows the releases of Dune, King Richard, Belfast, and West Side Story. Licorice Pizza is expected to be released soon. An announcement regarding Drive My Car is expected shortly. CODA, Don’t Look Up, and The Power of the Dog are only available via streaming, the first on Apple +, the other two on Netflix.

Edmund Goulding’s 1947 version of Nightmare Alley, released on Blu-ray and DVD last year by Criterion, is a formidable cult classic. Del Toro’s remake of William Lesley Gresham’s dark novel is even better.

Bradley Cooper has the role Tyrone Power made famous in the original, an ambitious carny turned phony mind-reader and clairvoyant who is outsmarted by a predatory female psychologist. She was played to devastating perfection by the relatively unknown Helen Walker in the 1947 version, and by the very famous Cate Blanchett in the remake, who is equally brilliant. Unfortunately, the sizzling performance of Joan Blondell and the sweet one of Coleen Gray in the earlier version are not matched as well by the usually spot-on Toni Collette and Rooney Mara here. David Strathairn, however, does impressive work as Collette’s husband, previously played by Ian Keith. Also memorable are Willem Dafoe and Richard Jenkins in roles not featured in the 1947 version.

The film’s Oscar-nominated production design, costume design, and cinematography really pop on home video, especially in the 4K UHD version.

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The DVD Report #768

With the DVD, Blu-ray and 4K UHD releases of Steven Spielberg’s 2021 version of West Side Story, this is a good time to take a look at Spielberg’s Oscar history, his many nominated and award-winning films having long been available on home video.

Spielberg is the most successful of living producer-directors. He has more than fifty directorial credits and almost two-hundred producing credits. He has nineteen Oscar nominations and three wins, fifteen BAFTA nominations and four wins, as well as numerous other nominations, wins, and honorary awards. Despite all that, he is generally rated below his less awarded contemporary, Martin Scorsese, in critics’ polls of the greatest living directors.

Although Spielberg made his big screen debut with 1974’s The Sugarland Express, it was, however, his second film, 1975’s Jaws, the first summer blockbuster, that established him and changed the way films have been distributed ever since. Nominated for 4 Oscars, Spielberg was the only director of the year’s five Best Picture nominees not to be nominated for Best Director. He was passed over in favor of Federico Fellini for Italy’s Amarcord. Jaws won 3 of the Oscars it was nominated for, but it was Milos Forman’s One Flew Over the Cuckoo’s Nest that won Best Picture and Best Director.

Spielberg’s next film, 1977’s Close Encounters of the Third Kind was the year’s second most popular science-fiction film behind Star Wars. Nominated for 8 Oscars, it won for Best Cinematography along with a special award for Sound Effects Editing. Although Spielberg was nominated for Best Director, the film missed out on a Best Picture nomination. In an unusual circumstance, the directors of all five Best Picture nominees filled the other four slots. That’s because Herbert Ross had two films in contention, The Goodbye Girl and The Turning Point, earning his directorial nomination for the latter. Woody Allen’s Annie Hall won Best Picture and Director.

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