Oscar - Writing Original Screenplay
Winners of Academy Award for Original Screenplay
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| aughung's Rating | My Rating | ||
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| 1 |
The Great McGinty (Down Went McGinty) (1940, Unrated) |
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| 2 |
Citizen Kane (1941, PG) |
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| 3 |
Woman of the Year (1942, Unrated) |
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| 4 |
Princess O'Rourke (1943, Unrated) |
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| 5 |
Wilson (1944) (1944, Unrated) |
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| 6 |
Marie-Louise (1944, Unrated) |
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| 7 |
The Seventh Veil (1945, Unrated) |
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| 8 |
The Bachelor and the Bobby Soxer (1947, Unrated) |
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| 9 |
Battleground (1949, Unrated) |
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| 10 |
Sunset Boulevard (Sunset Blvd.) (1950, Unrated)
The movie discloses the dark side of Hollywood, and the impacts on actors (losing jobs) resulted from the transition from silent movie to modern movie. Billy Wilder uses a sarcastic approach to depict Norma Desmond and makes her more pathetic, particularly for the classic scene with quote "All right, Mr. DeMille, I'm ready for my close-up" at the end. If you know the background of the real identities of the actors (Buster Keaton, Cecil B. DeMille, Gloria Swanson and Erich von Stroheim) you will find it much more touching as the celebrities did. Finally, Norma Desmond makes me remind of Miss Havisham in Great Expectations, probably because Joe has mentioned that... |
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| 11 |
An American in Paris (1951, Unrated) |
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| 12 |
The Lavender Hill Mob (1951, Unrated) |
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| 13 |
Titanic (1953, Unrated) |
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| 14 |
On the Waterfront (1954, Unrated) |
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| 15 |
Interrupted Melody (1955, Unrated) |
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| 16 |
Le Ballon Rouge (The Red Balloon) (1956, Unrated) |
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| 17 |
Designing Woman (1957, Unrated) |
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| 18 |
The Defiant Ones (1958, Unrated) |
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| 19 |
Pillow Talk (1959, Unrated) |
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| 20 |
The Apartment (1960, Unrated) |
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| 21 |
Splendor in the Grass (1961, Unrated) |
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| 22 |
Divorzio all'Italiana (Divorce Italian Style) (1962, Unrated) |
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| 23 |
How the West Was Won (1963, G) |
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| 24 |
Father Goose (1964, Unrated) |
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| 25 |
Darling (1965, Unrated) |
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| 26 |
Un Homme et une Femme (A Man and a Woman) (1966, Unrated) |
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| 27 |
Guess Who's Coming to Dinner (1967, Unrated) |
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| 28 |
The Producers (1968, PG) |
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| 29 |
Butch Cassidy and the Sundance Kid (1969, PG) |
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| 30 |
Patton (1970, PG) |
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| 31 |
The Hospital (1971, PG-13) |
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| 32 |
The Candidate (1972, PG) |
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| 33 |
The Sting (1973, PG) |
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| 34 |
Chinatown (1974, R) |
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| 35 |
Dog Day Afternoon (1975, R) |
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| 36 |
Network (1976, R) |
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| 37 |
Annie Hall (1977, PG) |
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| 38 |
Coming Home (1978, R) |
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| 39 |
Breaking Away (1979, PG) |
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| 40 |
Melvin and Howard (1980, R) |
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| 41 |
Chariots of Fire (1981, PG) |
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| 42 |
Gandhi (1982, PG)
A wonderful biographical movie doesn't require an unforgettable plot. As long as it can tell the life of the protagonist accurately and make audience agree with him (or hate him in the case of villains) and have a clear image, it will be a masterpiece. Gandhi is one of them. Comparing with Milos Forman's Amadeus, Mozart will just be a talented and pitiful man in our eyes; Gandhi is, however, an adorable and memorable hero. We can observe his charisma and immortal spirit here. So once again, it's just amazing! Maybe together with Amadeus, they are the best and most deserved Oscar Best Picture winner for the 80s! |
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| 43 |
Tender Mercies (1983, PG) |
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| 44 |
Places in the Heart (1984, PG)
The best wlll be its spirit: endurance and courage towards hardship. The most intriguing scene is the one about tornado. The KKK part is furious to watch either. The other will be the acting: not only Sally Field gave one of the greatest performances, but John Malkovich was also great for his screen debut. The ending is somehow sad since the social harmony seems still far away...... |
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| 45 |
Witness (1985, R) |
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| 46 |
Hannah and Her Sisters (1986, PG-13) |
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| 47 |
Moonstruck (1987, PG) |
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| 48 |
Rain Man (1988, R) |
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| 49 |
Dead Poets Society (1989, PG) |
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| 50 |
Ghost (1990, PG-13) |
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| 51 |
Thelma & Louise (1991, R) |
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| 52 |
The Crying Game (1992, R) |
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| 53 |
The Piano (1993, R) |
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| 54 |
Pulp Fiction (1994, R) |
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| 55 |
The Usual Suspects (1995, R) |
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