News Ticker >
[ November 14, 2019 ]

Chicago: Muslim students riot over alleged Quran burning (VIDEO)

[ November 14, 2019 ]

Judge Rules for America: Denies Citizenship to US-born Alabama Muslim Who Joined ISIS and who...

[ November 14, 2019 ]

VIDEO: Muslim teen who attacked Jews, egged Brooklyn synagogue arrested on hate crime charges

[ November 14, 2019 ]

Faked hate in Finland: Muslim migrant politician apologizes for false story about abusive taxi passenger

[ November 14, 2019 ]

Ireland Sending Military to Syria to Bring Back ISIS Bride

[ November 14, 2019 ]

UK: Eight Muslims will stand trial for raping and trafficking the same 15-year-old girl

[ November 14, 2019 ]

“Child marriage is not regarded as forced marriage in Switzerland and is therefore not prohibited”

[ November 14, 2019 ]

Two Iranian Muslims caught running surveillance on Jewish facilities and events in the U.S.

[ November 14, 2019 ]

‘Suspected Terrorist’ Imam Loses Appeal, Court Sides With FBI

[ November 14, 2019 ]

WATCH: Canadian Imam: ‘Only Patronize Muslim Businesses, Fire Non-Praying Employees

Saturday Night Cinema: The Oscars (1966)

11

Tonight’s Saturday Night Cinema feature is The Oscars, one of those bad ’60s movies we love to hate. Of course, I chose it as a tribute to tomorrow night’s “ceremonies.” It’s an appropriately cheesy pick, considering the garbage Hollywood churns out today. The NY Times’ Bosley Crowther moaned in his 1966 film review, “ANOTHER distressing example of Hollywood fouling its nest — professionally, socially, commercially and especially artistically….Obviously the community doesn’t need enemies so long as it has itself.”  Heh.

Deliciously bad, populated with a veritable pantheon of B list actors. It’s a classic.

The Oscar

This is the story of a vicious, bitter, firstclass heel who rises to stardom on the blood of those close to him. Without a single redeeming quality, part played by Stephen Boyd is unsympathetic virtually from opening shots.

The Oscar (1966)
Screen:’Oscar’ Arrives
By BOSLEY CROWTHER
Published: March 5, 1966

ANOTHER distressing example of Hollywood fouling its nest — professionally, socially, commercially and especially artistically—is provided by a film called “The Oscar,” which opened at the Festival and Loew’s State yesterday. Obviously the community doesn’t need enemies so long as it has itself.

Not only is this screen translation of a novel by Richard Sale about a cheapskate Hollywood actor who tries to bludgeon his way to an Academy Award a piece of expensive claptrap, loaded with harrowing clichés, but it also is shamelessly endorsed by the presence of some of the great and near great of Hollywood.

No one less eminent than Bob Hope himself plays his long familiar role of master of ceremonies of the annual Academy Award show, at which this pseudobiography of a Hollywood heel begins. Blandly the dress-suited Robert steps forth on the Pathécolored screen and gives a flawlessly credible simulation of precisely what he has done before and what we will be seeing him do on television only a few weeks from now.

Merle Oberon is the actress who steps up to tear the envelope and read off the name of the winner of the best-actor award. And Frank Sinatra is the actor who jumps up at the end and — wait, that’s the manufactured climax it would be unfair to reveal.

The point is that these and other people in the goldfish community have willingly contributed their services to oblige Joseph E. Levine and Clarence Greene and Russell Rouse in producing this arrantly cheap, synthetic film, which dumps filth and casts aspersions upon the whole operation of Hollywood—a community that may not be perfect but is not so foul as hinted here. And it is their candid re-enactment of the ceremony of giving out Academy Awards that encloses this fictitious nonsense in a frame of quasireality.

Of course, anyone with half a notion of what Hollywood actually is will not be fooled by this narration (by the hero’s old companion and long-time friend) of the rags to riches fable of this selfish, unprincipled male star, which is accompanied by lurid illustrations of studio offices, Beverly Hills pads and overexaggerations of wicked goings-on.

Most people should know that smoker-spielers are not suddenly elevated to stars on the strength of a drama coach’s enthusiasm and an agent’s approving word. Most people should know that fading actors who are generally despised are not suddenly and spontaneously nominated for Academy Awards. Yet it is such things as these that the audience is asked to believe in this film, along with a vast assortment of cornball, hair-curling clichés.

“Why do I always try to destroy the people I love,” rasps the nutmeg-headed hero, played woodenly by Stephen Boyd.

“I don’t know why I keep expecting you to act like other men when you’re not,” shouts a distracted Eleanor Parker, who plays the drama coach. “How quickly we forget beginnings,” wails the synthetic miss, whom the hero synthetically marries and who is played synthetically by Elke Sommer.

“We take off the clown’s happy face and see tears underneath,” says Milton Berle, who plays the philosophical agent. “He’s just a big hunk of meat!” snarls Joseph Cotten as the head of a major studio. And “I just want to be happy; is that asking too much?” someone else says.

But the line that is frequently spoken by Tony Bennett in the role of the hero’s long-loyal companion who is betrayed in the end is the most profound one in the film. “Lie down with pigs,” says Mr. Bennett, with his eyes looking holes through Mr. Boyd, “and you get up smelling like garbage.”

They should learn that in Hollywood.

The Cast
THE OSCAR, screenplay by Harlan Ellison, Russell Rouse and Clarence Greene, based on a novel by Richard Sale; directed by Mr. Rouse; produced by Mr. Greene. An Embassy Pictures release. At Loew’s State Theater, Broadway and 45th Street. Running time: 119 mins.
Frank Fane . . . . . Stephen Boyd
Kay Bergdahl . . . . . Elke Sommer
Kappy Kapstetter . . . . . Milton Berle
Sophie Cantaro . . . . . Eleanor Parker
Kenneth H. Regan . . . . . Joseph Cotten
Laurel Scott . . . . . Jill St. John
Hymie Kelly . . . . . Tony Bennett
Trina Yale . . . . . Edie Adams
Barney Yale . . . . . Ernest Borgnine
Grobard . . . . . Ed Begley
Orrin C. Quentin . . . . . Walter Brennan
Sheriff . . . . . Broderick Crawford
Network executive . . . . . James Dunn
Edith Head . . . . . Herself
Hedda Hopper . . . . . Herself
Steve Marks . . . . . Peter Lawford

The Truth Must be Told

Your contribution supports independent journalism

Please take a moment to consider this. Now, more than ever, people are reading Geller Report for news they won't get anywhere else. But advertising revenues have all but disappeared. Google Adsense is the online advertising monopoly and they have banned us. Social media giants like Facebook and Twitter have blocked and shadow-banned our accounts. But we won't put up a paywall. Because never has the free world needed independent journalism more.

Everyone who reads our reporting knows the Geller Report covers the news the media won't. We cannot do our ground-breaking report without your support. We must continue to report on the global jihad and the left's war on freedom. Our readers’ contributions make that possible.

Geller Report's independent, investigative journalism takes a lot of time, money and hard work to produce. But we do it because we believe our work is critical in the fight for freedom and because it is your fight, too.

Please contribute to our ground-breaking work here.


Make a monthly commitment to support The Geller Report – choose the option that suits you best.

Contribute Monthly - Choose One

Have a tip we should know? Your anonymity is NEVER compromised. Email tips@thegellerreport.com

Pin It on Pinterest