Best Director – 1971

Official Nominations: William Freidkin. Peter Bogdanovich. Norman Jewison. Stanley Kubrick. John Schlesinger.

One of the finest and most difficult list of nominees to choose from this year. We have four classics and one good film which is not remembered like the others – five great directors. Freidkin got the official win and it’s difficult to argue against that – his decision to shoot in a gritty, realistic style would influence countless films and in many ways symbolizes the decade. Peter Bogdanovich shoots his coming of age drama in black and white somehow accentuating nostalgia, fearlessness of youth, and desolation. Jewison had already won Best Picture and been nominated for Best Director but Fiddler In The Roof is a standard stage to screen adaptation. Kubrick shows how to adapt a story for the big screen with character – making the end product unquestionably his own while retaining the plot and themes. Finally, Schlesinger’s Sunday Bloody Sunday isn’t as bleak as some of his previous and later work, a progressive film which never fails to remind the viewer that most of us are broken. For me there are three directors on near enough even footing here, but Kubrick’s goes that bit further in crafting something which remains unique.

My Winner: Stanley Kubrick.


My Nominations: William Freidkin. Peter Bogdanovich. Stanley Kubrick. Ken Russell. Don Siegel. Mike Hodges. Dalton Trumbo. Alan J Pakula. Robert Altman. Sam Peckinpah. George Lucas. Nicholas Roeg. Mel Stuart.

Ahem. Yes, I did go a little overboard with my choices, but it’s my blog so take your tears elsewhere. There are plenty of other directors deserving of a nomination this year who didn’t get an official one or from me. Ken Russell’s work on The Devils speaks for itself while Don Siegel’s pulling together of script, music, performance, and politics ensured Dirty Harry became one of the most famous films of the decade. Mike Hodges crafts a similar film with Get Carter, but one with a British grit and stark feeling throughout which Hollywood could not emulate in crime fiction – Bleak war movies were more in vogue in the US and Dalton Trumbo’s Johnny Got His Gun is as bleak as they come, with Trumbo adapting his own novel over thirty years after its release as the US found itself fighting another war.

Alan J Pakula gets a deserved nomination for the swerving Klute, Robert Altman racks up another nomination for his inside-out Western McCabe And Mrs Miller, and Sam Peckinpah is a must-nominate for the ever-violent, ever-popular Straw Dogs. George Lucas gives one of the most unique visions of the year with his rarely seen debut THX 1138, Nicholas Roeg makes his first mesmeric and unsettling film with Walkabout, while Mel Stuart creates a bright, youthful, and eternally charming entertainer with Willy Wonka And The Chocolate Factory. 

My Winner: Stanley Kubrick.

Let us know in the comments who you would pick as the Best Director of 1971!

Room 237


As any student of any art form knows and fears, the moment you begin to study a particular text, film, or other piece of art is the moment it falls apart and becomes a gaping corpse of functional, practical parts ready to be dissected and reassembled in any Frankenstein manner you wish. Movie fans love to discuss movies, to look for tiny specs on re-watches that you or others may have missed, while critics prefer to cut the thing apart to find any minor details which they can ascribe to their own agenda. Somewhere between or beyond these groups is another breed which goes further, seeking to fuel their own fan-fiction, conspiracy theories, or venomous, stalker-lite love. Room 237 is a basement dweller’s blood-written love-letter to Kubrick, an interesting, ridiculous, and beyond believable account of people who have slipped out of fandom and into hysteria. Like any good conspiracy, it’s well worth listening to so that you can either point and laugh, nod and walk away, or think to yourself that maybe these guys have a point after all….

Room 237 specifically examines Kubrick’s The Shining, but also takes reference points from Kubrick’s life and other movies. Movie fans and critics alike will enjoy hearing pieces of information on the director and his movies that they may not have heard before, as well as marveling at the tenuous connections that our wonderfully, creatively flawed minds can make. We hear from general fans and academics, we hear theories which rank from the distantly plausible to the completely ludicrous. It’s easy to make such reaches when Kubrick was such a clever, divisive character with openly dense films. Your appreciation of this documentary will likely depend on how much of a Kubrick fan you are, and how much you enjoy taking an issue to its least logical endpoint or listening to others do the same. Personally I do enjoy this sort of thing but eventually it does become tiresome – Room 237 repeats the same footage, and has the same bland voices rambling on, so your patience may be tested long before the credits are rolling.


I was planning to go into more detail and maybe add another paragraph, but I think it’s best for those interested to go into this with an open mind – it isn’t essential for Kubrick or King fans, but it is made by and features people with a love both dedicated and a little disturbing for the works discussed. Let us know in the comments what you thought of Room 237 and what your favourite movie related conspiracy theories are.

Best Director – 1968

Official Nominations: Carol Reed. Anthony Harvey. Stanley Kubrick. Gillo Pontecorvo. Franco Zeffirelli.

Some expected nominations this year, alongside a couple of surprises. Gillo Pontecorvo makes a surprise appearance for the wonderful Battle Of Algiers – a film released in 1966 and one which had already been nominated for an Oscar the previous year (and would again be nominated in a later year). Stanley Kubrick also picks up a nomination – a surprise given that the remaining three nominees had their films featured in the Best Picture category. Although it is far from a one man movie, it is clear that 2001 is 99% Kubrick – its many faults and many good points fall to him and it can still be said to be possibly the ultimate Science Fiction movie. Carol Reed unsurprisingly picked up the win this year with his Oliver! – even all these decades later it’s still entertaining, probably the best version of Dickens’ story, but it’s still a fairly straight adaptation of a stage play so I can’t credit Reed as much as Kubrick or Pontecorvo. Rounding out the list – Zeffirelli for Romeo And Juliet and Harvey for The Lion In Winter – both stage adaptations, well directed with Zeffirelli showing his usual flair and Harvey continuing the long tradition of stilted historical dramas.

My Winner: Stanley Kubrick


My Nominations: Stanley Kubrick. George A Romero. Peter Yates. Mel Brooks. Roman Polanski. Sergio Leone. Franklin J Schaffner.

A groundbreaking year in many respects, but the official nominations don’t reflect this. Similar to my Best Picture nominations, it’s almost an entirely different list from me, with my Best Picture nominations making their way over to the Best Director category. I’m tempted to give a tie here, because so many of the directors here offer either career best’s or truly groundbreaking and innovative, timeless works. Kubrick of course crafts possibly the first modern, visual masterpiece, but more than that he takes storytelling in different challenging directions. George Romero and his small group of largely untrained actors and staff, somehow caught magic and created two new genres – the modern Zombie movie, and the elevated B movie – a low budget independent movie that is so good that it transcends its limitations and becomes something special. It’s clear that though Romero is inexperienced and flying by the seat of his pants, his story and technique are flawless and make something unforgettable.

This wasn’t the only groundbreaking horror film of the year though, with Polanski taking an altogether more urbane and suburban approach to his Rosemary’s Baby. Polanski had already chilled with the likes of Repulsion, but this time his film is all horror – again focusing on the life of a young, modern woman trapped in a circumstance beyond her control. Polanski unwraps the horror slowly, the mirror opposite of Romero’s unending onslaught, and although we get subtle hints throughout that something is very, very wrong, it isn’t until the final scene that the truth is horrifically revealed. Again, we can draw comparisons with how Night Of The Living Dead offers a final shocking scene.

On a lighter note, Mel Brooks gets a nod from me for The Producers, a film which did pick up two other nominations this year. Aside from the whip-smart script, Brooks keeps the face fast, and allows a superb cast room for improvisation – throw in songs, sets, and silliness and it’s a winner. Yates and Schaffner create their own hits, Yates showcasing the cool factor of cars, chases, Steve McQueen, and genuine, unadulterated dialogue, and Schaffner bring’s the best out of Rod Serling’s original vision for Planet Of The Apes, while adding his own touches of realism and authenticity. Finally, Sergio Leone outdoes himself by creating a more poignant, artistic Spaghetti Western, but one still filled with the realism and brutality which he previously brought to the genre. Going largely unnoticed at the time, Once Upon A Time In The West is now rightfully ranked among the best movies ever made.

My Winners: Yes, it was a year for ties, so my winners are Kubrick and Romero.


Let us know in the comments section who you think should have been winner of the Best Director of 1968!

TTT – Stanley Kubrick

No other director, past or present, has attracted the same amount of critical and cult acclaim and such rabid fans. No other director, or perhaps person has had so many urban legends and speculation written about him. A director who was an absolute master of his craft, but who was also extremely intelligent to the point that many have assumed his movies were saying a lot more than they actually were on the surface, leading to hundreds of wild theories linking him to stories about fake moon landings and obsessive fan documentaries. It’s clear Kubrick played up to such things, and yet his works have such depth and range of subject, theme, and genre that it is hardly surprising that so many think he is the greatest director ever/immortal/a wizard. With a career spanning five decades it is shocking and perhaps disheartening that he only has 13 credits to his name. Making only 1 film in the 90s, 2 in the 80s, and 2 in the 70s, one wonders and dreams what could have been had he managed to make another film in each (or one) of those eras. Nevertheless, we are left with one of the finest filmography in history – a series of films that will continue to entertain and teach for eons to come. Here are my top ten favourite Kubrick directed movies.

10: Eyes Wide Shut


Really I could have included The Killing here, but I felt like I needed to include Eyes Wide Shut. The important thing being that those early few Kubrick films don’t really feel like Kubrick films, while Eyes Wide Shut feels 100% like Kubrick, even if it feels even more like one big joke from beyond the grave. I seem to remember the film was largely torn apart upon release, and I’m not sure if there has yet been a favourable critical consensus in the years since – looking on Wikipedia though it seems like general consensus has always been positive so my memories may have been falsely planted. It certainly looks the part, and there is certainly a lot to say about the film and the real-life goings on going on at the time of filming. It’s just too dense and ultimately silly to truly appreciate, but as a final hurrah it is surely one of the most effective and bizarre.

9: Paths Of Glory

Paths of Glory

One most other lists of top films I would rank Paths Of Glory higher. It always naively impresses me that films from so long ago can have such an impact on me and still have the ability to wow on a technical level and still be intellectually, morally, and artistically relevant today. The rather simple story is given emotional gravitas mainly due to a terrific central performance by Kirk Douglas, in which he rages against the machine in an all too convincingly futile manner. One can imagine these same little speeches and injustices going unheard and unpunished in every walk of life today and although the machine remains unfeeling and uncaring, the individual never stops fighting. Kubrick’s camerawork here marks it as the first truly Kubrickian film, with the dolly work through the trenches marked by eerily prescient dialogue and stark glimpses on the faces of each beaten soldier being an obvious highlight.

8: Lolita


In 1962 Kubrick had made it big, thanks to the critical success of his last few films and the commercial success of Spartacus. What better way to continue that success by filming one of the most controversial books of all time? The film was of course controversial too, and Kubrick’s vision was severely hindered by the censorship of the times – he wanted the sexual tones to be more obvious in alignment to the novel, but that was never going to happen in 62. We are still left with an unsettling, well-acted, and tautly directed film which still prompts uncomfortable viewings and discussions decades later.

7: 2001: A Space Odyssey

Gary Lockwood And Keir Dullea In '2001: A Space Odyssey'

Kubrick had already broken new ground in Cinema before he began making 2001, but it is his 1968 masterpiece which saw him transform cinematic storytelling and propelled the art form over strange and wonderful new horizons. Few films have created as much discussion as this one, and it is frequently cited as either (or both) the best film or the most important film ever made. With a non-linear structure, spanning millennia, prompting discussions on a myriad of philosophical topics, and with truly extraordinary visual effects which are still impressive today, it is a film which everyone should experience once. Perhaps ‘experience’ is the best word to describe it, more than ‘film’, because it still seems so foreign from traditional cinema. The sheer amount of technological advances that were created and pioneered with the film is incredible. And yet I do feel it is overlong, that the dialogue and the characters who speak it are too plain – non entities in the vastness of space and time. Many will likely continue to view it as boring, confusing, abstract, and pretentious, while others will proclaim it as the second coming.

6: Spartacus


The film that established Kubrick as a major talent, and as someone who would bring the big bucks, Spartacus is an enjoyable epic that merges the Golden Age of Hollywood with the newer, encroaching modern era. It’s apt then that the subject matter also deals with the rebellion against old ways and traditions. Ironic too that it is perhaps the only film in Kubricks catalogue that he did not have complete control over – the film was the studio’s baby, and the star power of Kirk Douglas meant that Kubrick was always number three. Nevertheless, the meticulous nature of Kubrick, his eye for detail and depth are obvious. We get a heady mix of standard, grandiose epic drama, romance, tragedy, but with a scale, scope, and pathos rarely seen before. With breathtaking set pieces, iconic moments, and a strong cast it is rightly seen as one of the greatest epics ever made.

5: Barry Lyndon


A period drama unlike any other, and quite unlike anything else Kubrick had done, this is the film fewest will have seen of his post 1950’s work. Not a great commercial or critical success upon release, it seemed that this was Kubrick shying away from controversy and crafting something personal from a technical and directorial perspective. We follow Ryan O’Neal as Barry, an Irish teen who flees his home and life and has various escapades involving war, gambling, espionage, dueling, greed, etc over the course of his life. Visually stunning, lavish, and with a hollow core with neither approves or disproves of any action, it is a candle-lit tale of debauchery and loss, with one of Kubrick’s most interesting, underrated characters.

4: Dr. Strangelove


A comedy, a political statement, a protest song delivered as a farce in the medium of film, Dr. Strangelove is as much a vehicle for Sellers as it is for Kubrick. Two unique perfectionists come together to make a successful comedy with jokes that remain funny, and themes that remain potent and relevant today, arguably the best political satire ever made. The film for me is most curious because of the fact that when Sellers is on screen it feels like a Sellers film, but when he is not present it feels like a Kubrick film – there is little, but subtle overlapping.

3: A Clockwork Orange


Kubrick’s most infamous film, banned in many countries and banned by the director himself. Linked to many youth crimes after release, A CLockwork Orange’s stark portrayal of crime is exuberant, stylized, extravagant, and does not offer much redemption or hope with the message being that violence breeds more violence, attempts to quell violence are violent, and in the end violence may be all we know. Once again Kubrick evokes a tremendous performance, this time from Malcolm McDowell as lead droog Alex, a teen with a taste for ultra-violence and the old in out. We watch his various crimes and adventures, witnessed with an sometimes satirical eye, at other times with a voyeuristic one. We have a glorious soundtrack and scenes that will pop out of your memory without warning any time you hear one of the classical pieces, we have a visual flair that creates a hyper-realistic view of youth culture and modern society, and scene after scene of manic carnage. Looking at it now, it is hardly violent when compared with any horror movie post- Texas Chainsaw, and yet it still leaves an impact more keenly felt than a hundred gore flicks. It’s also hilarious, quotable, and begs you to watch just one more time.

2: The Shining


The film I think would appear at the top of fan lists, though likely not critic lists, The Shining is a film which, once seen, can never be forgotten. The Steadicam moving through endless coloured hallways, the thunder of tricycle wheels, the immense torrent of blood cascading from the elevator doors, the shock cuts between girls standing, and girls in pieces – all these are etched indelibly into the psyche of viewers and popular culture – even if you haven’t seen the film, you’ll recognise it from those scenes. Although most of Kubrick’s work has elements of horror and moments of revulsion, fear, and violence, this remains his only overt horror film, a tale of isolation, claustrophobia, paranoia, and the weakness of man. Taking King’s story and making it something entirely separate, Kubrick has crafted a dizzying, looping story which would be monotonous (correctly so) if not for the creeping, insidious dread we feel as the hours and days in The Overlook tick by. Modern audiences have criticized Nicholson’s depiction of Jack Torrence as either being too Nicholson, or too crazy – from the first scene we know something is not right with this man – he starts at 7 and doesn’t take long to dial up to 10. My view is that yes, he is demented from the outset, and that the Hotel has drawn him here seductively; Torrence has already been abusive to his family in the past and they are completely under his thrall, just as much as he is caught in the hotel’s web. The Overlook is a central character, with its endless corridors layered with sinister corners and doors, vistas which seem to shift in a serpentine manner so that when you think you have traveled in a circle you finish somewhere completely different from where you began; once inside there is no escape – Torrence the captain of this labyrinth, but victim of the more traditional maze outside the walls. I do feel the film would have been better served by someone other than Duvall, but then there wasn’t much she could do with the character – a passive, reactive scream queen cliche who doesn’t complete a journey in the film so much as be carted along by the choices of others and forces outside her control.

1: Full Metal Jacket


A macho film which once again returns to anti-war themes. A film of two distinct parts, dripping with tension, action, quotable dialogue and fantastic performances. I do feel that the second part struggles to follow the first part, but it nevertheless comes out as my favourite Kubrick film. The coldness which often inhabits his work may be apparent here, but it doesn’t get in the way of this being his most re-watchable film. You may not learn as much with each re-watch as you would with his other work, but you will always be entertained. For some reason I always think this is a 90s movie – it has the smarts and the attitude which set it apart from most of its ilk. It masquerades as an action movie, with training montages and war games, but of course it is more similar to Platoon. As always there are themes of moral ambiguity, but perhaps those on display here are the most striking, with Joker so long detached and rebelling against the idea of a soldier merely being an extension of his weapon until he finally becomes that weapon. Modine, Baldwin, and particularly Ermey and D’Onforio are exceptional, Kubrick’s meticulous eye, ear, nose for detail is present and accounted for in every shot, and the film contains some horrific moments which rank it close to The Shining in terms of chills. It may be said that Kubrick, not for the first time, takes a God-like detached chair and simply shows us what life can be like for people involved in war – good, bad, indifferent are the choices the viewer and the characters need to make, while Kubrick sits above, fingers intertwined, pondering and watching the results.

What are your favourite Stanley Kubrick films? Do you think he is the greatest Director of all time, or is he overrated? Let us know in the comments!

Best Writing (Adapted): 1964

Actual Nominations: Becket. Zorba The Greek. Dr. Strangelove. Mary Poppins. My Fair Lady.

This year saw the usual mix of adapted plays and musicals, with Becket picking up the official win. My choice goes to Kubrick, George, and Southern’s loose adaptation of Peter George’s own Red Alert. Kubrick deftly turns the story into a black comedy and adds in a heavier satirical element, as well as completely re-writing the ending.

My Winner: Dr. Strangelove.

My Nominations: Dr. Strangelove. Goldfinger. The Killers. Zulu. The Outrage.

Only Kubrick’s satire makes it over to my personal list this year, joining an unexpected foursome. Richard Maibum returned yet again to adapt another Ian Fleming novel, this time crafting the script which many others would use as a template over the following decades. With rewrites and additions by Oscar winner Paul Dehn, the script is peppered with iconic one liners and scenes. Based on Kurosawa’s classic Rashomon, which was in turn based on earlier Japanese short stories, Michael Kanin gives a grandiose, yet filthy air to Ritt’s The Outrage, while Gene L Coon’s take on Hemmingway’s short story was so violent for a Teleplay that it was released to great success on the big screen instead. My final nomination is for Cy Enfield and John Prebble, for their rip-roaring script Zulu, based on a previous media article Prebble had written. With plenty of innocent inaccuracies, and some completely fabricated stuff to present both a tale of high adventure for Britannia, and a basis for heavy historical criticism, Zulu  is a story which always provokes debate.

My Winner: Dr. Strangelove.

Which film from 1964 do you think has the best adapted screenplay? Let us know in the comments.

Best Writing (Adapted) – 1962

Actual Nominations: To Kill A Mockingbird. David And Lisa. Lawrence Of Arabia. Lolita. The Miracle Worker.

Two titans of literature go up against a couple of curiosities and a pseudo-biography. The bane of high-school English students everywhere, To Kill A Mockingbird is Harper Lee’s only novel to date, and Horton Foote’s earnest adaptation condenses all of issues concerning prejudice and injustice without losing any of the power or sincerity. Dealing directly with controversial topics, both the film and the book are overwhelming successes. Lolita, on the other hand is a much more sordid affair, dealing with taboo and whilst still a success should be considered on a different level. Although Nabokov is credited with the screenplay, Kubrick and Harris had a greater hand in the adaptation. Unlike Mockingbird, Lolita the films is greatly changed from the book – mainly to avoid the wrath of the censors with most of the explicit stuff made subtext rather than clear and present. If anything this gives a more sinister undertone to the action. William Gibson worked closely with Arthur Penn on the adaptation of The Miracle Worker which is based on Helen Keller’s autobiography, but it is the performances rather than the words which give the film its power. Dealing with similar issues, Eleanor Perry’s adaptation of Rubin’s David And Lisa is fine if a little sugary. Robert Bolt and Michael Wilson’s take on the life of T.E.Lawrence pays the necessary liberties to bring a coherent, dramatic tale to the screen.

My Winner: To Kill A Mockingbird


My Nominations: Lawrence Of Arabia. Lolita. To Kill A Mockingbird. The 300 Spartans. The Day Of The Triffids. The Trial. The Wonderful World Of The Brothers Grimm. Dr No.

Quite a few additions to the various official nominations which made it over to my list – with a mixture of history, science fiction and more literary giants making the grade. The 300 Spartans isn’t simply a nonsensical action film – the various writers merging chaos to create something stirring and topical (Cold War undertones), while David P Harmon, William Roberts, and Charles Beaumont’s screenplay does well with the gigantic task of bringing together the many Grimm’s fairytales to make a fine standalone story. Bernard Gordon changes many elements of Wyndam’s The Day Of The Triffid’s to again create something unique from the novel and while it is a much more simple tale, it creates enough drama to still be watchable today, while Maibum, Harwood, and Mather’s script for Dr No is much more faithful to the source material and set the standard for every Bond film to come, not to mention a host of imitators. My final choice has probably the most interesting adaptation – with Orson Welles giving his own twist on Kafka’s The Trial, bringing it up to date and playing around with certain details and plot points.

My Winner: Lolita