Harris paints a picture of a Hollywood torn between two conflicting generations, but nevertheless surprisingly insular and interconnected. Not only was Beatty, the star and producer of Bonnie and Clyde, considered for the The Graduate, but Poitier, the star of two of the films, almost had a supporting role in Dolittle.
Years before he directed The Graduate, Mike Nichols enjoyed his first success as a performer in a stage show directed by future Bonnie and Clyde director Arthur Penn. And so on, and so forth. Dolittle sections have the fascination of a slow-motion train wreck. Movies that depend on animals almost always go over budget.
This one had hundreds of animals, a temperamental star Rex Harrison—the closest thing to in a villain in the book , and producers who neglected to consult a meteorologist before picking a date to shoot location work in England. On one level, the Best Picture nominees were not that different from what get nominated today.
Pictures at a Revolution
You had two independently-minded films that really pushed the envelope, two low-budget, conventional films with their heart in the right place including the winner, In the Heat of the Night , and a big production intended to be a blockbuster. Lincoln Spector writes about cinema, technology, and cinema technology. From through , he wrote Gigglebytes, the first technology-oriented humor column. View all posts by Lincoln Spector. Skip to content By early , Hollywood was finally beginning to realize that nothing would ever be the same again.
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The task of seguing among five such different films is a tough one. But Mr.
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Harris handles it seamlessly, in part because his book is tethered to larger subjects than the making of individual films. Racial politics, for instance, plays a huge part in this story, thanks to the illustrative presence of Sidney Poitier, the only bankable black actor of his time and a man much criticized for sticking to dehumanizingly righteous roles.
Poitier figured in three out of the five best picture nominees. Thoughts from Mr. By then, compared to either of them, Mr. Poitier was a much bigger box office draw. Intrigued by a sense of wide-open opportunity, and working on the four- to five-year development process that seems par for the course, Mr.
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View all New York Times newsletters. They came reasonably close. Benton remembers thinking he was as close to heaven on earth as he would ever be. Nichols, who directed it, talks of repeatedly playing hit songs by Simon and Garfunkel as he cut his film — until it finally occurred to him that he could put well-known, supposedly used-up music into a movie score. Harris, who has worked in various capacities at Entertainment Weekly.
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Mark Harris: Pictures At A Revolution
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- Book review: Pictures at a Revolution, Mark Harris - Bright Lights Film Journal.
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