Nightman Listens To – Madonna – Evita

Greetings, Glancers! It’s time to check out Madonna’s third and most successful soundtrack album Evita. Tim Rice and Andrew Lloyd Webber penned all of the work here and Madonna sings most of the songs, though she does get help by Banderas, Pryce, and old Crocodile Shoes himself Jimmy Nail. As you would imagine, it sold a crapload. I’m going to be going through the double disc edition, but I’m not a sadist – I’m only listening to the ones Madonna performs on. I expect these songs will be peppered with instrumental sections and that they will lose much without the visuals. Lets get this out of the way.

Oh What A Circus‘ opens just as I imagined – lots of lovely Latin guitars. Banderas starts the singing, telling of Eva’s life. There’s a familiar melody. No Madonna yet. This is nice though, no complaints. Backing vocals. Sudden rock outburst. That was pretty funny. Decent vocals from Antonio. Now a slower section. Is this Madonna? Now instrumental. Now Madonna, doing a bit from ‘Don’t Cry For Me’.

Eva and Magaldi/Eva Beware Of The City’ begins with some weird funk. Dark tones, all very theatrical as you would expect and lots of voices, changes in pace and style. Listening without the visuals means it sounds a little messy – a confusing mishmash of genres with people chanting and singing and talking, but I think it would all make sense on screen or stage. With all that said, it’s not too bad. I do have no idea what’s going on, but the music is fine.

Buenos Aires‘ starts with a train toot and some clapping. I think. Lots of percussion now. Madonna’s vocals seem a little stronger on the album – more powerful. This one is only okay – a little jazzy, a little funky, some nice strings in the middle, but no obvious hooks. It then turns into a James Bond instrumental for the final section.

Another Suitcase In Another Hall’ starts like a traditional hit rather than a product of a musical. It’s very sweet with lyrics of uncertainty and exploration and yearning. This one does have hooks and apparently was a single, but I don’t remember it. I’d listen to this one again, very nice.

Goodnight And Thank You’ has a big brass celebration opening. This segues into a softer section before the Banderas verse. Madonna joins in for a more traditional duet. Then they sing about soap. And doing up trousers. It just about passes the listening without visuals test.

Charity Concert/The Art Of The Possible‘ has clapping, and South American rhythms. Then it ends. Then it starts again. Another duet. Well, it’s mostly Antonio. Then it ends again.

I’d Be Surprisingly Good For You‘ is another duet with lyrics overlapping closely. The music is mostly in the background, leaving breathy vocals. Madonna then takes over and it becomes a decent ballad – not as strong as that hallway song, but still good.

Hello And Goodbye‘ is light and fluffy in its opening moments, a little like elevator music. Then it’s a little sultry, then tender, then more tender as it calls back a previous song.

Peron’s Latest Flame‘ has a brass, war era sitcom intro. It sounds like the rich don’t like Evita’s antics. Now the rich are singing. I’m not hearing Madonna yet. Drum collapse. Future sounds. Now Madonna. More chanting. More future sounds. This is very ‘musical’.

A New Argentina’ has a mysterious in tone beginning but finds its feet when Madonna sings – the melodies by this point are familiar – it’s the ‘I’ll Be Good For You’ tune again. It breaks away eventually for a heavier sound with choir and guitars. Madonna belts out the vocals well in several places. This one goes on for ages. It’s mostly good, but it does stretch the patience when listening without the benefit of seeing what’s going on.

Don’t Cry For Me Argentina‘ is the one we all know. We’ve already heard motifs in the songs up to this point, but now it’s going all the way. If I’m honest I don’t remember too much about the song about from Madonna singing the title and a few more words. Big string intro, soft, mournful vocals. The verses stretch out, teasing the listener and getting the lyrics across. It’s one of Madonna’s better vocals. The chorus is fine, more understated than what I remembered and it balances well with the verses rather than outstripping it.

On The Balcony Of The Castle Rosada (Part 2)’ begins with some excited whispering. We get crowd noise and choir singing which builds in pace and urgency. We then get a spoken section, an inspired speech. We finish with a brief choir blast and short Madonna line.

High Flying, Adored’ is a gentle ballad starting out with Antonio’s smooth vocals. It’s another good performance from him. Madonna comes in briefly at the end to mirror what Banderas has just sung.

Rainbow High‘ starts suddenly, Madonna’s quick vocals giving over to further choir voices – these two flit back and forth throughout. It’s another good performance by Madonna, giving it her all even as the timing and style transform.

Rainbow Tour‘ features more male vocals. This one is a little more cheesy, feeling very ‘Dr Zeus/Dr Zeus’. There’s a little bit of Madonna in the middle before returning to the blokes.

The Actress Hasn’t Learned The Lines You’d Like To Hear‘ starts with trumpets and annoying chorus vocals – like Greek Play Chorus, you know? Madonna comes in with some meandering vocals and lyrics. Familiar melodies come at last – there’s really only a handful of recurring motifs here, a few more wouldn’t have gone amiss for such a huge score. There’s some horror movie sounds for a while to change it up.

Pardito Feminista‘ features more crowd noise and speeches. Some singing too, quite a bit for a song shorter than two minutes long actually.

Waltz For Eva And Che‘ is just as it sounds. Antonio first. Madonna next. Melodies are largely sacrificed for the sake of lyrics and plot. Big waltz in the middle with splashing percussion.

Your Little Body’s Slowly Breaking Down‘ opens with a morbid and sad piano line and vocal deliver. Madonna joins in to give a more positive spin for this short track.

You Must Love Me’ is another short track. Man, all those ‘were do go from here’ lines are just reminding me of Buffy. This is a decent ballad, plaintive, and understated with just piano and violin along with Madonna’s voice.

Eva’s Final Broadcast’ seems like a downer. We know what is happening, so obviously it’s not a barrel of laughs. Madonna’s voice gives way to some sort of chanting, then she comes in again to add new words to the same old melodies. Then the big chorus comes back with a slight change. This one is theatrical, with wavering vocals, soundbites, and all the rest of it. We close with a few mournful minutes of choir voices.

Lament‘ closes the album, at least from my perspective. Madonna and guitar. Another good one. We get a jump scare surge of strings and full orchestra blasts before calming down and Antonio takes over.

Jeebus, that was long. But it was better than I was expecting. It doesn’t feel like a Madonna album, though her imprint is there. It feels like a musical, but there are songs which seem to live and breathe on their own. All the silly trappings of the stage are there, though they are not as annoying as I thought they would be and while there is an awkwardness in listening to the soundtrack without following the screen, plenty of the songs are good enough to warrant listening. There is quite a lot of repetition, and some songs are too long for purely listening to, but on the whole it’s a decent album and I could easily cut it down to a more respectable length and listen through it again.

Let us know in the comments what you think of the Evita soundtrack. Next time we see Madonna we’ll be going through Ray Of Light – an album I liked a lot when it was first released but haven’t heard since (actually, I stupidly posted Ray Of Light before posting this, so next time it will be Music)!


2018 In Film – A Preview – July – September


Lets see what the rest of the blockbuster season has to offer us in the upcoming year.

The Purge: The Island

As much as The Purge series seems, on the surface, to be right up my street, at the time of writing I still haven’t seen any of them. How good can a fourth entry be? Fourth entries are rarely good, but often enjoyable nonetheless. I’ll get to this once I get through the first three, and hopefully before the inevitable The Purge In Space comes along. I don’t know the director or the cast, with DeMonaco stepping back to only fulfill writing duties.

Ant-Man And The Wasp

You already know I haven’t seen Ant-Man yet. I do like Paul Rudd, and the trailer (for the original) seemed like lighter, less serious Marvel affair. Once again, I’ll get to it some day.

The Nun

A spin-off of The Conjuring series, this is sure to make a load of money, but I can’t imagine it being as successful as the core movies. I liked the first movie, wasn’t amazing, but I like how James Wan works and I like the cast – haven’t seen the second one yet. I love how this stars Taissa Farmiga, younger sister to Vera – Taissa is a very gifted actress too. This time Corin Hardy directs – he has one credit to his name so far, but it is a respectable one.

Hotel Transylvania 3

I’ve watched most of the first one – the same parts multiple times – due to my kids liking it. I think they have watched the second one, and I may have seen snippets of it. I assume this will be more of the same with diminished returns, though if it introduces more kids to horror then I’m all for it.


The Rock continues his one man army romp through every action sub genre you can think of. This time he’s a former hostage negotiator and building security guy, so I’m assuming this is Die Hard again. But wait, Neve Campbell is on board. Regular Glancers will know that I’m actually (not) married to Neve, so you can be sure I’ll be seeing this. Thurber has worked with The Rock before, and I quite liked We’re The Millers, though that makes me think this could be more comedy than action.

Alita: Battle Angel

Isn’t this something that Jimmy Cameron was once involved in? Robert Rodriguez is now directing, and he’s always good for plenty of stylized action, even if he hasn’t had a major success story for a while. Look at the budget of this thing… it could be a mess, but I hope it’s good.

Mamma Mia: Here We Go Again

No, we’re not going anywhere. The first one was fairly awful, so this will undoubtedly be worse.

Gaugin: Voyage De Tahiti

No idea, but Vincent Cassel is on board, and that’s usually enough for me.

Mission Impossible 6

It must be high time that someone else takes over the MI reigns from Tom Cruise. I love him in the role, and the movies are always enjoyable, but to turn the movie series into a full blown, long-lasting franchise, they’ll need to Bond it up and let someone else take over when Tom gets too old. I’ve only seen the second one in the cinema, but I’ll catch this on streaming.

Teen Titans Go! To The Movies

I was genuinely bewildered when I read a few posts saying people don’t enjoy this show and don’t have high hopes for the movie. The show is great! Clever, quirky, and a lot of fun. I mean, I don’t know if the rapid-fire style will work for a feature length, but I’m willing to give it a shot.

Christopher Robin

Christopher Robin was always a bit of a dweeb. This Disney re-imagining focuses on him as a washed up grown up who has lost his imagination. Good director, good cast, but the Winnie The Poo series was always fluff so I’m not sure how much they can get out of this.

The Equalizer 2

I haven’t seen the first one and I didn’t really watch the series. Denzel hasn’t really convinced me as an action guy, but fine. Ah well, killing baddies is always good so I’m sure I’ll catch it late some night when I’m old and deformed.

The Predator

Given that Predator is one of my favourite films of all time, it’s a guarantee I’ll be seeing this. I’m not sure about the premise – being set in suburbia and all, but Shane Black is involved, and I’ve pretty much loved or enjoyed everything he’s ever touched (including Predator). I like the sequel, the spin-offs are mostly muck, and Predators was decent fun. If Arnie had been nailed down for this, it would be my most anticipated movie of the year.

The Spy Who Dumped Me

Is this another Austin Powers? No. It’s an action comedy from Lionsgate with Mila Kunis and a few other random big names. How good can it possibly be? I’m all for the female director and apparent focus on women, but I can’t say I have high, or any, hopes.


I’m a dad to two girls. Lets not pretend that there aren’t already a million Barbie movies. And the Life In The Dreamhouse series. I’ve seen most of the straight to DVD efforts, but this is of course going to be a big release. Hold on, this has mysteriously moved out of 2018 to 2020. Oh well, I’ve typed it here now. Regardless, there should have been a Barbie live action movie in the 90s with Stacey Keibler. You know it.

The Meg

I love shark movies. I just do. Even when they’re not good, I’ll still watch, and almost all of them are not good. I haven’t read the books that this is based on, but it’s sharks and Jason Statham, so I’ll be seeing it. Jon Turtletaub as director doesn’t fill me with a lot of confidence – Cool Runnings is awful… yeah, most of his movies have not been good, but I did like While You Were Sleeping for some reason, and he has some decent TV credits. I’m sure this will be crap, but hopefully good crap.


Why? Apparently Diego Luna and The Coen Brothers are involved, so that’s good. But why?

The Nightingale

Australian period revenge thriller, for the ladies? Cool. I loved The Babadook, so lets hope this is good too.

My Son

No clue, but Melanie Laurent is usually enough for me. Canet is cool too, and Carion’s Joyeuz Noel was pretty good.

Crazy Rich Asians

As much as I’m happy for a mainstream American movie with an Asian cast, it’s a romantic comedy based on a book being directed by a guy who does dance and Beiber movies. So I think I’ll pass.

White Boy Rick

Now we’re talking – Yann Demange’s follow up to the fantastic ’71 – a film close to my heart… and house, this has a great cast – Piper Laurie, Bruce Dern, Jennifer Jason Leigh, Matthew McConaughey. I don’t know anything about the plot but this all points towards potential greatness.

Captive State

Is this the American District 9? Set in Chicago about citizens after colonization by aliens, so this stinks of politics. Vera Farmiga and John Goodman, and Rupert Wyatt’s three filmd so far have been strong. Hopeful.

The Happytime Murders

This is the puppet one, right? It’s unfortunate then that the cast is populated with, well, puppets. It’s every comedian from those films I don’t like very much. Could still be good though, cos it’s puppets. It ain’t no Farscape though. Seriously – watch Farscape. 

Three Seconds

Crime thriller with a good cast… these can be fine or forgettable, but they rarely make a huge impact on me unless they’re exceptional.


No clue about the plot or director, and a cast of youngish pretty people. It’s horror. As it’s horror I’m always hopeful, and I’m always going to see it, but with the details above I’m sure it won’t be anything special.


Keanu Reeves sci fi? Naturally I’m in. The plot seems interesting enough – a futuristic Pet Sematary but with some sort of Handmaid’s Tale twist. Nachmanoff has had successes as a writer, less so with his movie directing.


Brothers on the run from baddies and monsters and something about a mysterious weapon – sounds like a nonsense, but exactly the sort of nonsense I love. Some biggish names here.

The Little Stranger

Lenny Abrahamson’s latest appears to be a haunted house movie. Good good, but again these have a a habit of focusing on fashion and setting rather than plot or scares. Good cast too so I’ll hope for good reviews.

New Line Horror Film

Is it a new Elm Street?

The Darkest Minds

Based on a YA series I’ve never heard of. So I assume lots of teen romance. Probably guff, but again I’ll take a look if reviews and trailer are good.


A boy and a wolf, thousands of years ago. Cool. Lets hope it’s not a CG wolf. The Hughes Brothers haven’t made enough movies over the years, but they are generally strong and interesting when they do.

Fighting My Family

I don’t like Stephen Merchant. I find his humour as funny as… well, Ricky Gervais. However, this is a wrestling movie featuring some wrestlers, based on the true story of… wait for it… Paige. As a pretty big wrestling fan I’m sure I’ll see this, but this has several WTFs… why isn’t Paige just in this as herself? She’s only 25, yet here she is being played by a 22 year old. Is it because Vince McMahon owns her? And what about the whole sex tape business – did that throw a spanner in the works? Does a 25 year old really merit a biography, especially when most of the world have no clue who she is? Will WWE start making films about all of their superstars? This could be the weirdest film ever.

Johnny English 3

Yay? Rowan Atkinson is a God. I mean, I’d much rather have a new Mr Bean series, but I’ll take what I can get. Kerr is a fellow Northern Irish guy, so I suppose I should support him? Fuck that, I don’t give a shit about such things – he has been involved in some good shows though. No Natalie Imbruglia again 😦

The House With A Clock in Its Walls

Is this Eli Roth putting all his cards on the table and going all in? I can’t think of any more poker metaphors, but you get the idea. This seems to be a big budget Del Toro style movie rather than his usual grindhouse fare. Big cast too – Kyle Machlachlan, Cate Blanchett, Jack Black, Colleen Camp returning after Knock Knock. I know nothing of the story it’s based on.

Robin Hood

Seriously, how many of these do we need? Have we had a Detroit based one where Robin Hood is a gangsta? The Ridley Scott was wank, and its attempt at being gritty has ticked that box, so what’s left?

Night School

I read that name and guessed it would be another one of ‘those comedies’. That’s it, purely based on the name. Of course I’m right. Keith David is in it…. that’s maybe my only reason to watch.


Is this another Land Before Time? Yeah, I know that was Little Foot. Hold on, is this seriously another Land Before Time? No, but it is some sort of prehistoric animated thing. The cast is a mess, and the director is Disney-lite, so this will be balls. In fact, there will probably be a joke about (snow) balls in the trailer.

The Kid Who Would Be King

Joe, of Adam And Joe (and laughing at Taffin) fame follows up Attack The Block with what appears to be a retelling of The Sword In The Stone. As I mentioned above for Robin Hood, we’ve already had the gangsta, ‘gritty’ retelling, so what’s left? This seems more like a coming of age comedy, so could be good.

Boy Erased

Speaking of coming of age, this looks like a Joel Edgerton passion project. I prefer coming of age films to be universal, and this seems to focus on a gay kid in a religious small town. Having said that, I generally like these films and the cast and director are all strong, so hoping it’s good.

Let us know in the comments which films you’re looking forward to!


Best Writing (Adapted) – 1972

Official Nominations: The Godfather. Cabaret. The Emigrants. Pete ‘n’ Tillie. Sounder.

As much as you would have expected The Godfather to sweep the board, this was one of the few awards it actually won, Coppola and Puzo completely transforming and bringing to life Puzo’s saga. Cabaret isn’t a film I typically think of having a memorable screenplay, based on a musical which was based on a novel which was probably based on a comic etc etc. The Emigrants is 1971 so shouldn’t be here, Pete ‘n’ Tillie is a fairly dark and sad comedy based on two novels, while Sounder is an emotive, less violent retelling of the source.

Official Winner: The Godfather


My Nominations: The Godfather. Sounder. Deliverance. Everything You Always Wanted To Know About Sex. Fritz The Cat. The Getaway. Jeremiah Johnson. The Poseidon Adventure. Sleuth.

Two from the official list join a large batch of others, including Woody Allen’s one of a kind adaptation of Doctor Reuben’s book. Elsewhere, Walter Hill gives The Getaway a modern and streamlined, action-packed treatment and James Dickey adapts his own Deliverance yet the writer of its most famous line remains disputed. Fritz The Cat has controversy in almost every department – its screenplay taking elements and actual parts from the comics as well as delivering brand new stories – all the while retaining an anarchic satirical sense. John Milius was beginning to make a name for himself (in more ways than one) and his screenplay for Jeremiah Johnson shows his flair for dialogue coming to fruition. Sleuth is one of the most well-written films ever but it’s not all that different from the source material, while The Poseidon Adventure gets rid of much of the sex and controversy to make a purely enjoyable disaster romp.

My Winner: The Godfather

Let us know your pick for the Best Adapted Screenplay of 1972!

Nightman’s Top Ten Films Of 1955

Greetings, Glancers! We continue my new series of posts which will detail my favourite films of every year since 1950. Why 1950? Why 10? Why anything? Check out my original post here. As with most of these lists the numbering doesn’t really matter much, though in most cases the Number 1 will be my clear favourite. As I know there are plenty of Stats Nerds out there, I’ll add in some bonus crap at the bottom but the main purpose of these posts is to keep things short. So!

10: The Ladykillers (UK)

9: I Live In Fear (Japan)

8: Lady And The Tramp (USA)

7: Les Diaboliques (France)

6: The Colditz Story (UK)

5: East Of Eden (USA)

4: Bad Day At Black Rock (USA)

3: The Night Of The Hunter (USA)

2: Marty (USA)

1: Rebel Without A Cause (USA)

How Many Of My Films Were In The Top 10 Grossing Of The Year: Three

How Many Of My Films Were Nominated For the Best Picture Oscar: One – the winner

Let us know in the comments what your favourite films of 1955 are!

Calling All Gamers!!!

!!! I’m aware I only have about twelve readers (which is a shame because I always assumed there were more sadists in the world), and that most of you come here for my movie reviews (you should really have a hunt around at my other posts – music, TV – they’re all hilarious!) but sometimes I have the odd post about videogames. Most of my posts tend to be on the retro side, due to the following reasons – first, when a new game is released, every chump with a blog is talking about it and I have this thing about doing the opposite of what everyone else is doing, and second, I tend not to buy games as soon as they’re released anyway. With two kids and a wife and a job and a cat and a garden and various secret lives to consider, my gaming time is limited, meaning I watch the odd bit of Youtube coverage to scratch my bitch (itch). From comedy diversions such as Vanoss and his crew, to ma boi Dashie’s skits, scares, and screams, to watching all those city building games I’d love to have, it’s sometimes how I get to sleep. Wouldn’t it be great though if there were a dedicated videogame show on Youtube – one which scratches multiple itches (bitches) and caters towards my sense of humour and style of gaming? Yes…. that would be wonderful.

Enter Digitiser The Show? What is this, you may ask. It is thus, I may say. I will say it and it is thus – the brain child of one Paul Rose, aka Mr Biffo, aka, the finest videogame journo type boyo in the world. If you live anywhere outside of the UK you likely won’t know him, or his most famous previous work – Digitser. Back in the early Nineties, long before we had dial-up screeching through our phones, us pasty British and Irish types had a thing on our TVs called Teletext. BBC had Ceefax, ITV and Channel 4 had Teletext (Channel 5 had Shannon Tweed, but that’s another story). Both were essentially regularly ‘loading’ magazine pages – there were news and sports sections, holiday sections, TV guides etc. My dad especially loved the business and shares section where he would sit patiently, cracking walnuts, while page 16 of 42 rolled around so that he could see if his ‘footsy’ had gone ‘up a shilling’… I still don’t understand any of that stuff.

As has become the lore of many a thirty something Brit, a pre and indeed post school ritual was to check Digitiser for our daily Mario and Sonic info squirts. It was a videogame magazine consisting of news, reviews, charts, characters, and funnies. Ooh the characters and funnies. It was the world’s only daily gaming magazine, but it was written with an often bizarre humour which quickly enamoured readers into a cult following. A letters page helped this underground movement of weirdos to spread and soon Digitiser had an average daily readership of loads. For ten years it blazed a trail which many have emulated so varying degrees of success and copycatism. In 2003 it all ended – I was in the middle of University and failing to blaze my own trail, so it seemed fitting that all good things were coming to an end.

You can’t keep a good thing down (unless it’s pavlova – I could keep a whole one down every day) and Digitiser made a triumphant return online a few years ago. You can find it here – I implore you all to read, for non-biased gaming banter at its finest. While Biffo looks at everything from gaming ‘politics’ issues to the biggest triple ooh title, to the littlest Indie nips, he also indulges in a few helpings of retro pie. With twenty years of experience of writing on the subject, his knowledge is wide and it’s immediately clear he has a love for playing and talking about this lowliest form of entertainment. What I’m saying is that if you love gaming, you’ll enjoy Digitiser. If you enjoy humour in the vein of Reeves and Mortimer, Harry Hill, Monty Python, non-sequiturs, farce, and general nonsense, then you’ll love it.

While I would love it if his readership increased, and I hope he gets some new fans due to people stumbling on this post, what I really wanted to highlight was that Biffo has a Kickstarter set up for arguably the best thing ever. Yes, you guessed it, Biffo has taken it upon himself to create Digitiser The Show – an online series featuring some of your favourite gaming peeps – Biffo himself and a variety of his famous characters, Larry Bundy Jr, Ashens, Violet Berlin, Gameplay Jenny etc. In fact, do yourself a pleasure and read all about it in his own words at this link. The short version is that he wants to resurrect a gaming show similar to the good ones we used to have – Gamesmaster, Bad Influence, but that it will primarily deal with retro games. He has described it as like Top Gear but with games instead of cars and Clarksons. If this doesn’t sound like it’s right up your orifice, then I want nothing to do with you. If you’re intrigued, why not visit the Kickstarter page or the Digitiser2000 site and read some of his work. Even if you don’t like it… wouldn’t it be nice to have a professional, mid budget dedicated games show on Youtube? Shouldn’t we be supporting the things we love? While neither me, nor he, are begging for donations, it would be great if anyone reading this hops on over and gives some of their ill-gained moneys for the cause. The Digi shop has lots of cool stuff too (I’m writing this while wearing my Digi Sgt Pepper’s shirt), and there are a load of perks for getting involved. Any support, even if it’s just becoming a reader, would be great.

Two final spurts before I’m done; last year Biffo created another online series – not really related to gaming, but worth a watch for any fans of the aforementioned comedians – you can find Found Footage online here – you’ll get an idea of the talent involved, the cameos, and the content, though I imagine the complete buck nuts Biffo humour will be diluted, for lack of a better term, on the gaming show. Biffo raised over three times the amount he needed for his first goal within 24 hours, so it is happening – how much of it actually happens could be DOWN TO YOU! I think we all want to see a goujon being launched into Space, don’t we? Enjoy this launch trailer too. Ahoy!


Mr And Mrs Smith

*Originally written in 2003

A light-hearted Hitchcock comedy with some good performances and an interesting idea, but one which fails to stay in the memory. Hitchcock’s most notorious and memorable comedic scenes are those which appear in his most tense and thrilling films, working best because of the dark and sexually charged situations his characters find themselves in. In Mr and Mrs Smith Hitchcock spends the entire film dissecting the flaws and perks of married life – becoming overly accustomed to one another, yet knowing that no-one else could put up with each other.

After playing their usual, monthly truth telling game in which husband and wife ask each other a question which the other must answer truthfully, a game which will naturally lead to problems, Annie becomes annoyed with her husband David. She asks if he had to do it all over again, would he still have married her. He answers with a ‘no’ as he misses his freedom, but says he does not regret anything he has done, and loves her. In an odd coincidence both David and Annie hear that their marriage is void and they simply must remarry. However, both decide to play with the rule unknown to the other, and soon all hell breaks loose.

The two leads are good and the best moments, aside from the dialogue, are Hitchcock deliberately showing the monotony of both married life, the singles game, and the last few scenes in the log cabins involving husband and wife trying to make each other guilty. Unfortunately this is too soft, and does not have enough funny parts to deserve many watches, but is an interesting film nonetheless and a change of pace from what we would expect.

Best Writing (Original) – 1972

Official Nominations: The Candidate. The Discreet Charm Of The Borgeouisie. Lady Sings The Blues. Murmur Of The Heart. Young Winston.

So this year they continued the official title of ‘Best Screenplay based on Factual Material or Material not Previously Produced or Published’ or in other words ‘We don’t have a clue what we’re doing’. Anyhoo, The Candidate won this year, Jeremy Larner’s script one of the more detailed and accurate portrayals of American politics whose irony is lost on many a misguided viewer. Bunuel’s The Discreet Charm Of The Borgeouisie was probably his most loved film due in great part to a biting script which is quotable as well as being dense with the merging of dreams, reality, and the usual Bunuel oddities. Lady Sings The Blues wouldn’t normally be here but of course they made that garbled mouthful of a category name. It’s mostly based on Billie Holiday’s autobiography but goes all the way to the end of her life and of course is fairly gritty.

Murmur Of The Heart is one of the more bizarre entries selected by The Academy – aside from being a 1971 release, it’s a film about underage sex, more sex, and incest. It’s good, but incredibly odd that The Academy nominated it. Finally, Young Winston is another based on an Autobiography – this time focusing on Churchill’s early days… some people are into that sort of thing.

Official Winner: The Candidate

My Nominations: The Candidate. The Discreet Charm Of The Borgeouisie. Images. The King Of Marvin Gardens. Last Tango In Paris. The Life And Times Of Judge Roy Bean.

Only two of the official nominees make it to my list, leaving plenty of room for personal favourites. Images delivers some strong work by Susannah York and Robert Altman, but it’s the writing (also by Altman and York) which makes this more than a mere Repulsion clone. Bertolucci and Franco Arcalli crafted the daring, boorish Last Tango In Paris and while some of the more controversial pieces were improvised or loosely written and several pieces of dialogue retain high impact. My final two choices continue the theme of unnecessarily long movie titles, with The King Of Marvin Gardens seeing Brackman and Rafelson construct an almost soap-opera like assortment of characters and problems, while in The Life And Times Of Judge Roy Bean John Milius crafts an unlikable, yet enviable character who was nevertheless transformed into something more palatable for the screen, yet there are enough snippets of deadpan dialogue to remind us what a visionary force Milius was.

My Winner: The Candidate