My Nominations: Young Frankenstein. The Texas Chainsaw Massacre. Flesh For Frankenstein. The Golden Voyage Of Sinbad.
Once again there was no official award this year, so you’ll have to take my word on what was good. As would continue to be the case, the nominees mainly fall into the horror and fantasy genres – not genres which The Academy pays much heed to – but which nevertheless have created some of the finest examples of the craft. Young Frankenstein does subtle work to Peter Boyle to turn him into The Monster, but not so much that Boyle’s features and abilities are blocked. The Texas Chainsaw Massacre screams blood and guts, but there are only a few very minor scenes of such in the movie – it’s the make-up on Grampa and lighter touches on the rest of the family which transform them into something gruesomely human. Flesh For Frankenstein on the other hand goes all in on the gore effects, with viscera spilling all over the place. Finally, The Golden Voyage Of Sinbad is mainly notable for its stop motion and assorted effects, but the Make-up also gives a convincing sense of time and place.
My Nominations: The Exorcist. Live And Let Die. Westworld.
Although there was a surplus of horror movies this year, few of them actually stand out for making advancements in this area. The one that did is of course, The Exorcist – Regan’s transformation to angelic child to spawn of Satan wouldn’t work without the talents of the Make-up team, not to mention the entirely convincing aging work done to Max Von Sydow. Live And Let Die has some nice paint and makeup jobs too on the likes of Baron Samedi and Kananga which are both for show and a specific plot point. Finally, Westworld has some notable makeup and effects works to show the gradual and sudden deterioration of the crush kill destroy bots.
My Nominations: Beneath The Planet Of The Apes. The Bird With The Crystal Plumage. The Dunwich Horror.
No official category this year, as you well know, so you’ll have to put up with my picks scant as they are. There’s a wealth of crappy to average horror movies this year, The Dunwhich Horror just about scrapes by due to interesting ideas though it’s hackneyed and terribly dated now – decent make-up in places. The Bird With The Crystal Plumage is much better and not as gory and stylized as Argento’s later efforts. While Beneath The Planet Of The Apes doesn’t really advance the work achieved in the early entry in the series, it does offer some mutants as well as the apes, and is still my choice as winner.
My Winner: Beneath The Planet Of The Apes.
What film of 1970 would you give the Best Make-Up award to? Let Us know in the comments!
Even with two special Awards in the last few years, the Academy was still not prepared to dedicate a yearly category for those responsible for Make-up. In their defence, it would be another few years until enough films with suitable quality were being regularly released, but lets see what 1969 had to offer.
My Nominations: They Shoot Horses Don’t They. The Wild Bunch. Butch Cassidy And The Sundance Kid.
My Nominations: Planet Of The Apes. Night Of The Living Dead. Chitty Chitty Bang Bang.
John Chambers won an honorary award for his work on Planet Of The Apes this year, adding fuel to the fire of those who believed a dedicated category and award was deserved. His apes have an all too human look, yet the makeup is flawless and on a huge scale. Not too many of the other movies released in 1968 raised the Make-Up bar or changed the game significantly, but both Chitty Chitty Bang Bang with the nightmarish Child Catcher, and Night Of The Living Dead with its assortment of zombies featuring pasty, yet ultra-effective looks.
My Winner: Planet Of The Apes
Which film of 1968 do you think has the Best Make Up? Let us know in the comments!
This was another year where the Make-up Category did not exist, so the the below nominations are entirely my own selections.
My Nominations: Beach Red. Bonnie And Clyde. The Fearless Vampire Killers. Frankenstein Create Woman.
Not a stellar year for make-up and there are no obvious standouts or leap forwards when compared with the progress in acting and storytelling seen this year. The various films nominated basically were selected for expanding visual gore and other visceral elements, but none of them are particularly powerful or memorable from that perspective.
My Winner: Frankenstein Created Woman
Which film of 1967 has the Best Make Up? Let us know in the comments!
My Nominations: Dr Terror’s House Of Horrors. Planet Of The Vampires. The Greatest Story Ever Told. The Agony And The Ecstasy.
As is standard for this era of films, my Make-Up nominations are split between long forgotten horror and sci-fi movies, and mainstream epics. While the epics here have your typical big budget attention to detail, it is the lower budget Mario Bava effort which excels due to it’s Make-up and effects, and the early Amicus anthology which employs all manner of tricks convincingly to tell a bunch of stories about vampires, werewolves, and hands that crawl and claw and clench.
My Winner: Dr Terror’s House Of Horrors.
Which film of 1965 do you think deserves the win for Best Make-Up? Let us know in the comments!
Finally, in 1964, an award was presented for the first time in the field of make-up. It may have only been an honorary award, but it was a step in the right direction although it would take a depressing 17 years before the category became official. William J Tuttle had been responsible wholly or in part for the make up in films from the 1930s to the 1970s- if you haven’t heard his name then I’m sure you’re familiar with his work- The Wizard Of Oz, The Red Badge Of Courage, Singin’ In The Rain, The Prisoner Of Zenda, 7 Brides For 7 Brothers, Forbidden Planet, North By Northwest, The Time Machine, The Twilight Zone, Young Frankenstein to name a very few. His award for 7 Faces of Dr. Lao is justified and deserved in itself, but gives thanks to one of the greatest undervalued careers in Hollywood.
My Nominations: 7 Faces Of Dr. Lao. The Fall Of The Roman Empire. Goldfinger. The Flesh Eaters. Onibaba. Zulu. The Masque Of The Red Death.
A mix of horror, action, and epics make up my picks this year. Zulu and The Fall Of The Roman Empire are obvious choices given the scale and dedication involved, while Goldfinger continues the trend of strong work for Bond films. Onibaba is made all the more flesh-crawling due to the subtle make-up- it’s so subtle I don’t even know who the make-up artist was. The Masque Of The Red Death and The Flesh Eaters go for a more visceral approach and while both relatively low budget, they show a supreme mastery of the craft and ability to make the craft a vital part of the production. My Winner though has to be 7 Faces Of Dr. Lao as it is genuinely revolutionary. There are techniques and sights on display here that were new, and others brought to the tip of their power, but it is the diversity and invention which overshadows the other nominees and shows a great man going wild with his art.
There was no official award for Best Make Up this year so I have made my own selections.
My Nominations: Jason And The Argonauts. Cleopatra. The Birds. The Comedy Of Terrors
Jason And The Argonauts is most commonly, and unsurprisingly, remembered mostly for Harryhausen’s groundbreaking special effects, but a fair amount of work went into the Make-up too. Cleopatra obviously has stellar work in all departments, Make-Up included (Alberto De Rossi, Vivienne Walker, Robert J Schiffer), while The Birds uses Make-Up effectively in a few scenes to heighten the fear in the aftermath of recurring attacks (Virginia Darcy, Howard Smit). Finally, The Comedy Of Terrors employs a variety of well worn and innovative techniques thanks to Betty Pedettri, Carlie Taylor, and Verne Langdon.
My Winner: Jason And The Argonauts.
Let me know what your pick for the Best Makeup of 1963 would be in the Poll and comments below!