A Letter to Three Wives (1949)
Ben Affleck (“Argo”), Ron Howard (“Apollo 13”) and Steven Spielberg (“The Color Purple”), meanwhile, share their own bizarre place in film awards history as guild winners that didn’t even secure a nomination from the Academy. But throughout the course of 68 years, 60 DGA winners have gone on to claim the Oscar.
So that’s some solid math in “La La Land” director Damien Chazelle’s favor. Already the youngest DGA winner in the category, he’s now poised to become the youngest best director Oscar winner as well.
Why is the DGA prize such a predictive precursor?
By: Carson Blackwelder
Nothing is certain at the Oscars, and that absolutely applies to the best picture and best director categories. While it is common for films to win both of these trophies in a given year, sometimes they can go to two different works. There’s a chance that La La Land and Moonlight could split these categories at the upcoming ceremony — but how often does that happen?
Both of these films are considered frontrunners in both the best picture and best director category at the upcoming Oscars. This site’s namesake, The Hollywood Reporter’s Scott Feinberg, lists La La Land — written and directed by Damien Chazelle — and Moonlight — written and directed by Barry Jenkins — as the top two contenders in both categories in his latest check-in on the race. The two films have been
It’s not hard to see why American filmmakers and moviegoers would be interested in this subject at this time. Many of them had recently returned from war, where they did awful things for a greater good; those who didn’t go to war themselves certainly knew somebody who had. On a much larger scale, the use of
“Gracias a la Academia — Thanks to the Academy,” the Mexican native began his acceptance. “I can’t believe this is happening. It’s amazing to receive this award tonight. It’s much more beautiful for me to share it with all the talented and crazy cast and colleagues and crew members that made this film possible.”
Inarritu, who won last year for “Birdman,” topped Lenny Abrahamson for “Room,” Tom McCarthy for “Spotlight,” Adam McKay for “The Big Short” and George Miller for “Mad Max: Fury Road.”
The 52-year-old has joined directing icons John Ford and Joseph L. Mankiewicz as the only helmers to win in consecutive years. Ford won for “Grapes of Wrath” and “How Green Was My Valley” in 1940-41, while Mankiewicz won for “A Letter to Three Wives
Bonafide three-way race for Best Picture which is not common. Whoever wins we'll know that it was close -- unless a sweep reveals otherwise. Hell, Oscar's Best Director competition is also fierce though the advantage goes to Iñárritu at this point.
Incidentally, this prize for Alejandro González Iñárritu is his second consecutive from his guild. Though several directors have won twice, a consecutive win has never happened before at the DGA. It has happened at the Oscars, though, and twice at that: John Ford won two in a row for The Grapes of Wrath (1940) and How Green Was My Valley (1941). And not quite a decade later Joseph L Mankiewicz pulled off the same trick with A Letter To Three Wives (1949) and All
The “Revenant” director became the first filmmaker to ever win back-to-back DGA honors for feature filmmaking Saturday night, and really, beyond the simple unlikely nature of that prospect, it’s difficult to call it a shock. After all, it’s not a hard sell to the guild’s 13,000 members that production on “The Revenant” was no walk in the park. That’s certainly been the overbearing linchpin of the film’s campaign these last several weeks, a narrative that is helping to propel Leonardo DiCaprio to his first Oscar. But moreover, voters in this group, they know very well what it takes to pull off a project like this. So they voted accordingly.
The bulk of the movie takes place in flashback, as each woman reflects on the more tumultuous moments in their relationships, and why each husband would be motivated to abandon ship for the highly-desirable Addie Ross. Addie seems to have gotten around often enough to have gotten around to those same husbands in some capacity.
Some twenty-two years ago, just a couple of months before Joseph L. Mankiewicz passed away at the age of 83, New York’s Film Forum held a retrospective of his work. The one thing I knew about Mankiewicz back then was that Andrew Sarris had consigned him to The American Cinema’s circle of hell that was “Less Than Meet the Eye.” “The cinema of Joseph L. Mankiewicz is a cinema of intelligence without inspiration” he argued. Needless to say I went rather reluctantly to see his films, but by the end of the series I was a convert to his special brand of literate, sophisticated and genuinely moving cinema.
As a sidebar to the New York Film Festival, the Film Society of Lincoln Center is hosting a new retrospective of Mankiewicz’s films that runs
Written by Joseph L. Mankiewicz
Directed by Howard Dimsdale and Joseph L. Mankiewizc
A man (John Hodiak) wakes up in a military hospital, cognizant of the fact that he has been in battle for the United States but entirely oblivious of who he is or where he lives. Only a few cryptic pieces of paper in his pocket inform him of his name George Taylor; that a woman now hates him; and that a good pal of his, Larry Cravat, wants to meet him in Los Angeles transfer a significant amount of saved up funds through a bank account. Thus begins George’s vertiginous journey into the City of Angels, where the clues as to his true identity sometimes add up whilst other times stir further confusion. By all accounts, there are some people who view the name Larry Cravat as either a threat, as in the case of Lt.
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