Tag Archives: Day for Night

The Also Rans — The Exorcist (Best Picture Also Ran 1973)

A man with a hat on his head, holding a suitcase, arrives in a house building in วthe night, with the film's slogan above him while the film's title, credits and billing underneath him.Directed by William Friedkin

Screenplay by William Peter Blatty, based upon his novel

Starring Ellen Burstyn, Jason Miller, Linda Blair, Max Von Sydow, Lee J. Cob and Jack MacGowran

Confession is an appropriate place to start this entry, given the heavily Catholic tone of The Exorcist, so here goes: I’ve seen The Exorcist before.

See, when I started this Project – The Also Ran’s – I had the idea I’d use it to see Best Picture nominees I’d not seen before as a way to force new viewing experiences on myself.  Given I’d already seen many of the Best Pictures, that made the Best Picture Project as much about revisiting films as it was about discovery.  By definition then, The Also Rans was explicitly meant to be about discovery because it excluded movies I’d already seen.  Moreover, it would also give me a unique look at the workings of prior generations, in that by looking at what lost, I might find something very instructive.

But while this is my aim, here I am throwing the rule away and using this project as an excuse to re-visit The Exorcist.  Why?  Because it’s my Project, so it’s my rules to break.  Also, because with The Exorcist, any viewing will be a discovery.

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The Best Picture Project — The Godfather Part II (1974)

Godfather part ii.jpgDirected by Francis Ford Coppola

Screenplay by Francis Ford Coppola and Mario Puzo, based upon the novel by Mario Puzo

Starring Al Pacino, Robert DeNiro, Diane Keaton, Talia Shire, John Cazale, Bruno Kirby, Lee Strassburg, Robert Duval, G. D. Spradlin and Harry Dean Stanton

It strikes me now that as I’ve come to the homestretch on the Best Picture Project, and looking to start my final kick,[1] I’m facing down what might be the toughest stretch of movies, having inadvertently saved some of the longest, and some of those I’d been dreading most, for last.  The streak started a few movies back with Crash (dreading), continued to The Departed (long), then on to My Fair Lady (long), leading right up to this one (long).  To come, Schindler’s List (dreading for emotional reasons and my discomfort at feeling feelings), Return of the King (massive length), Cimarron (saved for basically being unavailable), and Million Dollar Baby (dread because when I saw it in the theater, the bait-and-switch made me downright hostile with it).  Continue reading

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