1961--The Year in Review

It's a very rare annum, indeed, when 18 out of 24 awards given by the Academy correspond with what I have deemed the best of the year (this is the first time I've agreed with the Academy since 1939). In another terrific period for world cinema, it remains just that Robert Wise and Jerome Robbins' stunning big-screen adaptation of the Sondheim/Bernstein Broadway hit ended up taking home ten Oscars; it's a movie that I once, in younger days, found sorely lacking in emotional impact--that is, until I finally caught it on the big screen, where it flourishes with rabid romance, violence, and frantically beautiful movement (the searing supporting performance from Rita Hayworth is another of its chief assets). It's painful for me to leave largely unrewarded one of my very favorite horror films, Jack Clayton's supremely eerie The Innocents. But, as much as I adore Deborah Kerr as that film's jittery governess. I had to give the Best Actress award to Natalie Wood, devastating as Deanie, the lovelorn schoolgirl who nearly buys the farm over her tempestuous romance with Warren Beatty's Bud. On the actor front, I had to side with two very different choices--one for an actor that would be recognized later for a lesser performance, and another for a comedian that never found a dramatic role quite as fitting as this one. In the short films, the very first appearance of computer graphics, via John Whitney' extremely influential Catalog, wins the animation award while Arthur Lipsett's ridiculously thought-provoking Very Nice Very Nice stuns us in its own fashion. Even so, overall, the Academy got things remarkably correct this year. NOTE: These are MY choices for each category, and are only occasionally reflective of the selections made by the Academy of Motion Picture Arts and Sciences (aka The Oscars). When available, the nominee that actually won the Oscar will be highlighted in bold. 

PICTURE: WEST SIDE STORY (US, Robert Wise and Jerome Robbins)
(2nd: The Innocents (UK, Jack Clayton)
followed by: The Hustler (US, Robert Rossen)
Through a Glass, Darkly (Sweden, Ingmar Bergman)
Yojimbo (Japan, Akira Kurosawa)
Judgment at Nuremberg (US, Stanley Kramer)
Divorce Italian Style (Italy, Pietro Germi)
Splendor in the Grass (US, Elia Kazan)
The End of Summer (Japan, Yasujiro Ozu)
One, Two, Three (US, Billy Wilder)
A Woman is a Woman (France, Jean-Luc Godard)
A Raisin in the Sun (US, Daniel Petrie)
The Misfits (US, John Huston)
101 Dalmatians (US, Hamilton Luske, Wolfgang Reitherman and Clyde Geronimi)
Last Year at Marienbad (France, Alain Resnais)
Viridiana (Spain, Luis Buñuel)
La Notte (Italy, Michelangelo Antonioni)
Blast of Silence (US, Allen Baron)
Baron Munchhausen (Czechoslovakia, Karel Zeman)
The Exiles (US, Kent MacKenzie)
Payroll (UK, Sidney Hayers)
Accattone (Italy, Pier Paolo Pasolini)
Of Stars and Men (US, John Hubley)
Pigs and Battleships (Japan, Shohei Imamura)
Victim (UK, Basil Dearden)
Whistle Down the Wind (UK, Bryan Forbes)
One Eyed Jacks (US, Marlon Brando)
A Taste of Honey (UK, Tony Richardson)
Summer and Smoke (US, Peter Glenville)
The Children’s Hour (US, William Wyler)
Underworld U.S.A. (US, Samuel Fuller)
The Guns of Navarone (US, J. Lee Thompson)
Breakfast at Tiffany’s (US, Blake Edwards)
El Cid (US, Anthony Mann)
Night Tide (US, Curtis Harrington)
Two Rode Together (US, John Ford)
The Hoodlum Priest (US, Irvin Kershner)
Lover Come Back (US, Delbert Mann)
The Pit and the Pendulum (US, Roger Corman)
The Curse of the Werewolf (UK, Terrence Fisher)
Five Minutes to Live (US, Bill Karn)
Barabbas (US, Richard Fleischer)
The Parent Trap (US, David Swift)
The Errand Boy (US, Jerry Lewis))

ACTOR: Sidney Poitier, A RAISIN IN THE SUN (2nd: Paul Newman, The Hustler, followed by: James Cagney, One, Two, Three; Marcello Mastroianni, Divorce Italian Style; Maximilian Schell, Judgment at Nuremberg; Toshiro Mifune, Yojimbo; Spencer Tracy, Judgment at Nuremberg; Dirk Bogarde, Victim; Clark Gable, The Misfits)

ACTRESS: Natalie Wood, SPLENDOR IN THE GRASS (2nd: Deborah Kerr, The Innocents, followed by: Harriet Andersson, Through a Glass, Darkly; Marilyn Monroe, The Misfits; Claudia MacNeil, A Raisin in the Sun; Piper Laurie, The Hustler; Rita Tushingham, A Taste of Honey; Billie Whitelaw, Payroll; Audrey Hepburn, Breakfast at Tiffany’s; Geraldine Page, Summer and Smoke)



SUPPORTING ACTOR: Jackie Gleason, THE HUSTLER (2nd: Martin Stephens, The Innocents,  followed by: George C. Scott, The Hustler; Montgomery Clift, Judgment at Nuremberg; Gunnar Björnstrand, Through a Glass, Darkly; George Chakiris, West Side Story; Tony Randall, Lover Come Back; Dennis Price, Victim; Pat Hingle, Splendor in the Grass)



SUPPORTING ACTRESS: Rita Moreno, WEST SIDE STORY (2nd: Judy Garland, Judgment at Nuremberg. followed by: Ruby Dee, A Raisin in the Sun; Arlene Francis, One, Two Three; Barbara Loden, Splendor in the Grass; Pamela Franklin. The Innocents; Thelma Ritter, The Misfits; Fay Bainter, The Children’s Hour)  



DIRECTOR: Jerome Robbins and Robert Wise, WEST SIDE STORY (2nd: Jack Clayton, The Innocents. followed by: Robert Rossen, The Hustler; Akira Kurosawa, Yojimbo; Ingmar Bergman, Through a Glass, Darkly; Alain Renais, Last Year at Marienbad; Stanley Kramer, Judgment at Nuremberg; Pietro Germi, Divorce Italian Style) 



NON-ENGLISH-LANGUAGE FILM: THROUGH A GLASS, DARKLY (Sweden, Ingmar Bergman) (2nd: Yojimbo (Japan, Akira Kurosawa), followed by: Divorce Italian Style (Italy, Pietro Germi); The End of Summer (Japan, Yasujiro Ozu); A Woman is a Woman (France, Jean-Luc Godard); La Notte (Italy, Michelangelo Antonioni); Last Year at Marienbad (France, Alain Resnais); Viridiana (Spain, Luis Buñuel); Baron Munchhausen (Czechoslovakia, Karel Zeman); Accattone (Italy, Pier Paolo Pasolini); Pigs and Battleships (Japan, Shohei Imamura))

DOCUMENTARY FEATURE: SKY ABOVE, MUD BELOW (France, Pierre-Dominique Gaisseau) (2nd: Chronicle of a Summer (France, Edgar Morin and Jean Rouch))

ANIMATED FEATURE: 101 DALMATIANS (US, Hamilton Luske, Wolfgang Reitherman and Clyde Geronimi) (2nd: Of Stars and Men (US, John Hubley))

ORIGINAL SCREENPLAY: William Inge, SPLENDOR IN THE GRASS (2nd: Ingmar Bergman, Through a Glass, Darkly, followed by: Alain-Robbe Grillet, Last Year at Marienbad; Akira Kurosawa and Ryuzo Kikushima, Yojimbo; Ennio De Concini, Pietro Germi, and Alfredo Giannetti, Divorce Italian Style)

ADAPTED SCREENPLAY: Abby Mann, JUDGMENT AT NUREMBERG (2nd: Truman Capote and William Archibald, The Innocents, followed by: Sidney Carroll and Robert Rossen, The Hustler; Ernest Lehman, West Side Story; Billy Wilder and I.A.L. Diamond, One, Two, Three)



LIVE ACTION SHORT FILM: VERY NICE, VERY NICE (Canada, Arthur Lipsett) (2nd: Antonio Gaudi (UK, Ken Russell), followed by: The Fat and the Lean (Poland, Roman Polanski); Seawards the Great Ships (US, Hilary Harris))



ANIMATED SHORT FILM: CATALOG (US, John Whitney) (2nd: Ersatz (Yugoslavia, Dusan Vukotic, followed by: Nelly’s Folly (US, Chuck Jones), followed by: Beep Prepared (US, Chuck Jones); Aquamania (US, Walt Disney and Wolfgang Reitherman))

BLACK-AND-WHITE CINEMATOGRAPHY: Freddie Francis, THE INNOCENTS (2nd: Eugene Schufftan, The Hustler, followed by: Sacha Vierny, Last Year at Marienbad; Kazuo Miyagawa, Yojimbo; Daniel L. Fapp, One, Two, Three; Merill Brody, Blast of Silence) 


COLOR CINEMATOGRAPHY: Daniel L. Fapp, WEST SIDE STORY (2nd: Asakazu Nakai, The End of Summer, followed by: Raoul Coutard, A Woman is a Woman; Boris Kaufman, Splendor in the Grass; Jack Cardiff, Fanny; Robert Krasker, El Cid) 



BLACK-AND-WHITE ART DIRECTION: THE HUSTLER, Last Year at Marienbad, The Innocents, One Two Three, Judgment at Nuremberg 

COLOR ART DIRECTION: WEST SIDE STORY, El Cid, Breakfast at Tiffany's, Flower Drum Song, Summer and Smoke
 

BLACK-AND-WHITE COSTUME DESIGN: YOJIMBO, Last Year at Marienbad, The Hustler, The Innocents, The Children's Hour

COLOR COSTUME DESIGN: WEST SIDE STORY, Breakfast at Tiffany's, Flower Drum Song, El Cid, Pocketful of Miracles



FILM EDITING: WEST SIDE STORY, The Hustler, Yojimbo, Judgment at Nuremberg, The Innocents 

SOUND: WEST SIDE STORY, The Guns of Navarone, Judgment at Nuremberg, One Two Three, 101 Dalmatians

ORIGINAL SCORE: Henry Mancini, BREAKFAST AT TIFFANY'S (2nd: Miklós Rózsa, El Cid, followed by: Georges Auric, The Innocents; Masuru Sato. Yojimbo; Ernest Gold, Judgment at Nuremberg; Dimitri Tiomkin, The Guns of Navarone) 



ADAPTED OR MUSICAL SCORE: Saul Chaplin, Johnny Green, Sid Ramin, and Irwin Kostal, WEST SIDE STORY (2nd: Duke Ellington, Paris Blues, followed by: Alfred Newman and Ken Darby, Flower Drum Song)



ORIGINAL SONG: "Moon River" from BREAKFAST AT TIFFANY'S (Music by Henry Mancini, lyrics by Johnny Mercer) (2nd: "Town Without Pity" from Town Without Pity (Music by Dimitri Tiomkin, lyrics by Ned Washington), followed by: "O Willow Waly" from The Innocents (Music by Georges Auric, lyrics by Paul Dehn); "Let's Twist Again" from Twist Around the Clock (Music and lyrics by Kal Mann and Dave Appell); "Let's Get Together" from The Parent Trap (Music and lyrics by Richard M. Sherman and Robert B. Sherman))



SPECIAL EFFECTS: THE GUNS OF NAVARONE, Baron Munchausen, Mysterious Island

MAKEUP: THE CURSE OF THE WEREWOLF, Breakfast at Tiffany's, Judgment at Nuremberg

1960--The Year in Review

As soon as 1960 struck, the movie world shook as if a massive earthquake had shifted its tectonic plates. No longer were the American studio products accepted by rote. In fact, it's astounding how far American movies fell off the map--the studios were clearly confused by what was happening (so many of their works now felt lifelessly stiff). Instead, the year's finest movies--goosed with the energy of sex and violence and mystery--hailed from other countries; in short, the art film exploded into the stratosphere. Yet prevailing over all is a potboiler by a British director, darting between episodes of his popular American TV series as he searched for a hit that would keep his movie career chugging along. This very work changed the way movies would be made and seen forever (Psycho initiated the then new concept that filmgoers would not be admitted into the auditorium after the film started, and it, of course, made everyone afraid to take a shower for decades to come). As far as the Oscars go, they showed a final display of love for a brilliant (German, by birth) filmmaker who'd been denied the top spot the year before. But it's Hitchcock's shocking modern horror film that still stuns everyone who sees it, to the point that superb and more rewardingly difficult films lie supplicant to its grimy charms. I should note: I've decided this is the first year that a Documentary Feature award should be implemented--and, surprisingly, the winner is one that fully details the American democratic process. With the short films, a movie from Canada proved to be an inspiration to a future masterpiece from Stanley Kubrick (whose epic 1960 movie--made without his full directorial approval--cemented his standing as a bankable filmmaker). And, in animation, both Warner Brothers and a mad experimental movie nut are bested by a film derived from the work of cartoonist and social commentator Jules Feiffer. NOTE: These are MY choices for each category, and are only occasionally reflective of the selections made by the Academy of Motion Picture Arts and Sciences (aka The Oscars). When available, the nominee that actually won the Oscar will be highlighted in bold. 

PICTURE: PSYCHO (US, Alfred Hitchcock)
(2nd: The Virgin Spring (Sweden, Ingmar Bergman), followed by:
Breathless (France, Jean-Luc Godard)
La Dolce Vita (Italy, Federico Fellini)
Le Trou (France, Jacques Becker)
Purple Noon (France/Italy, René Clément)
Shoot the Piano Player (France, François Truffaut)
L’Avventura (Italy, Michelangelo Antonioni)
Primary (US, Robert Drew and Richard Leacock)
Spartacus (US, Stanley Kubrick)
Jigoku (Japan, Nobuko Nakagawa)
Peeping Tom (UK, Michael Powell)
Late Autumn (Japan, Yasujiro Ozu)
The Bad Sleep Well (Japan, Akira Kurosawa)
Eyes Without a Face (France, Georges Franju)
Sons and Lovers (UK, Jack Cardiff)
Inherit the Wind (US, Stanley Kramer)
The Magnificent Seven (US, John Sturges)
Le Testament d’Orphée (France, Jean Cocteau)
Pollyanna (US, David Swift)
Elmer Gantry (US, Richard Brooks)
The Apartment (US, Billy Wilder)
Rocco and His Brothers (Italy, Luchino Visconti)
Tunes of Glory (UK, Ronald Neame)
Cruel Story of Youth (Japan, Nagisa Oshima)
The League of Gentlemen (UK, Basil Dearden)
Village of the Damned (UK, Wolf Rilla)
Two Women (Italy, Vittorio de Sica)
Comanche Station (US, Budd Boetticher)
The Little Shop of Horrors (US, Roger Corman)
Never on Sunday (Greece, Jules Dassin)
The Angry Silence (UK, Guy Green)
Black Sunday (Italy, Mario Bava)
Saturday Night and Sunday Morning (US, Karel Reisz)
The Young One (Mexico, Luis Buñuel)
When a Woman Ascends the Stairs (Japan, Mikio Naruse)
Zazie dans le Métro (France, Louis Malle)
The Sundowners (US, Fred Zinnemann)
Midnight Lace (US, David Miller)
Wild River (US, Elia Kazan)
Le Petit Soldat (France, Jean-Luc Godard)
Bells are Ringing (US, Vincente Minnelli)
The House of Usher (US, Roger Corman)
Exodus (US, Otto Preminger)
Sergeant Rutledge (US, John Ford)
Les Bonnes Femmes (France, Claude Chabrol)
Strangers When We Meet (US, Richard Quine)
Blood and Roses (France, Roger Vadim)
The 1,000 Eyes of Dr Mabuse (Germany, Fritz Lang)
The Rise and Fall of Legs Diamond (US, Budd Boetticher))



ACTOR: Anthony Perkins, PSYCHO (2nd: Spencer Tracy, Inherit the Wind, followed by: Fredric March, Inherit the Wind; Charles Aznavour, Shoot the Piano Player; Laurence Olivier, The Entertainer; Alain Delon, Purple Noon; Burt Lancaster, Elmer Gantry; Jean-Paul Belmondo, Breathless; Marcello Mastroianni, La Dolce Vita; Jack Lemmon, The Apartment)

ACTRESS: Hayley Mills, POLLYANNA (2nd: Shirley MacLaine, The Apartment, followed by: Sophia Loren, Two Women (voted at the top the following year); Monica Vitti, L’Avventura; Doris Day, Midnight Lace; Jean Simmons, Elmer Gantry; Barbara Steele, Black Sunday; Melina Mercouri, Never on Sunday; Dorothy McGuire, The Dark at the Top of the Stairs; Jean Seberg, Breathless)

SUPPORTING ACTOR: Harry Morgan, INHERIT THE WIND (2nd: Peter Ustinov, Spartacus, followed by: Martin Balsam, Psycho; Trevor Howard, Sons and Lovers; Charles Laughton, Spartacus; Karl Malden, Pollyanna; Alastair Sim, School for Scoundrels; Nigel Patrick, The League of Gentlemen; Fred MacMurray, The Apartment; Sal Mineo, Exodus) 

SUPPORTING ACTRESS: Janet Leigh, PSYCHO (2nd: Agnes Moorehead, Pollyanna, followed by: Wendy Hiller, Sons and Lovers; Shirley Jones, Elmer Gantry; Shirley Knight, The Dark at the Top of the Stairs; Vera Miles, Psycho; Alida Valli, Eyes Without a Face; Mary Ure, Sons and Lovers; Glynis Johns, The Sundowners; Brenda de Banzie, The Entertainer)



DIRECTOR: Alfred Hitchcock, PSYCHO (2nd: Jean-Luc Godard, Breathless, followed by: Ingmar Bergman, The Virgin Spring; Federico Fellini, La Dolce Vita; Jacques Becker, Le Trou; Rene Clement, Purple Noon; Francois Truffaut, Shoot the Piano Player; Michelangelo Antonioni, L’Avventura; Nobuko Nakagawa, Jigoku; Michael Powell, Peeping Tom) 



NON-ENGLISH-LANGUAGE FILM: THE VIRGIN SPRING (Sweden, Ingmar Bergman) (2nd: Breathless (France, Jean-Luc Godard), followed by: La Dolce Vita (Italy, Federico Fellini); Le Trou (France, Jacques Becker); Purple Noon (France/Italy, René Clément); Shoot the Piano Player (France, François Truffaut); L’Avventura (Italy, Michelangelo Antonioni); Jigoku (Japan, Nobuko Nakagawa); Late Autumn (Japan, Yasujiro Ozu); The Bad Sleep Well (Japan, Akira Kurosawa); Eyes Without a Face (France, Georges Franju); Le Testament d’Orphée (France, Jean Cocteau); Rocco and His Brothers (Italy, Luchino Visconti); Cruel Story of Youth (Japan, Nagisa Oshima); Two Women (Italy, Vittorio de Sica); The Young One (Mexico, Luis Buñuel); When a Woman Ascends the Stairs (Japan, Mikio Naruse); Zazie dans le Métro (France, Louis Malle))

DOCUMENTARY FEATURE: PRIMARY (US, Robert Drew and Richard Leacock) (2nd: The Horse with the Flying Tail (US, Larry Lansburgh)) 

ORIGINAL SCREENPLAY: Ulla Isaksson, THE VIRGIN SPRING (2nd: Michelangelo Antonioni, Elio Bartolini, and Tonino Guerra, L'Avventura, followed by: Federico Fellini, Ennio Flaiano, Tullio Pinelli, and Brunello Rondi, La Dolce Vita; Marguerite Duras, Hiroshima Mon Amour; Francois Truffaut, Breathless)

ADAPTED SCREENPLAY: Francois Truffaut and Marcel Moussy, SHOOT THE PIANO PLAYER (2nd: Rene Clement and Paul Gegauff, Purple Noon, followed by: Jacques Becker, Jean Aurel, and Jose Giovanni, Le Trou; Joseph Stefano, Psycho; Nedric Young and Harold Jacob Smith, Inherit the Wind)



LIVE ACTION SHORT FILM: UNIVERSE (Canada, Roman Kroiter and Colin Low) (2nd: The Dead (US, Stan Brakhage), followed by: Giuseppina (UK, James Hill); Baum im Herbst (Trees in Autumn) (Austria, Kurt Kren); Beyond Silence (US, Edmond Levy); A City Called Copenhagen (Denmark, Jorgen Roos))



ANIMATED SHORT FILM: MUNRO (US, Gene Deitch) (2nd: High Note (US, Chuck Jones), followed by: Goliath II (US, Wolfgang Reitherman); Arnulf Rainer (Austria, Peter Kubelka); Hyde and Go Tweet (US, Friz Freleng); Person to Bunny (US, Friz Freleng))

BLACK-AND-WHITE CINEMATOGRAPHY: John L. Russell, PSYCHO (2nd: Freddie Francis, Sons and Lovers, followed by: Sven Nykvist, The Virgin Spring; Raoul Coutard, Shoot the Piano Player; Joseph LaShelle, The Apartment; Aldo Scavarda, L’Avventura) 

COLOR CINEMATOGRAPHY: Russell Metty, SPARTACUS (2nd: Henri Decaë, Purple Noon, followed by: Mamoru Morita, Jigoku; Otto Heller, Peeping Tom; John Alton, Elmer Gantry; Mario Bava and Ubaldo Terzano, Black Sunday) 

BLACK-AND-WHITE ART DIRECTION: PSYCHO, The Apartment, Sons and Lovers, The Facts of Life, The Fugitive Kind



COLOR ART DIRECTION: SPARTACUS, Jigoku, The Time Machine, Sunrise at Campobello, Midnight Lace

BLACK-AND-WHITE COSTUME DESIGN: LA DOLCE VITA (won in 1961), Never on Sunday, The Facts of Life, Black Sunday, The Virgin Spring

COLOR COSTUME DESIGN: MIDNIGHT LACE, Spartacus, Pollyanna, Sunrise at Campobello, Tunes of Glory


FILM EDITING: PSYCHO, Breathless, Purple Noon, Inherit the Wind, Le Trou

SOUND: SPARTACUS, The Alamo, The Apartment, Inherit the Wind, Psycho



ORIGINAL SCORE: Bernard Herrmann, PSYCHO (2nd: Elmer Bernstein, The Magnificent Seven, followed by: Alex North, Spartacus; Nino Rota, La Dolce Vita; Georges Delerue, Shoot the Piano Player; Ernest Gold, Exodus)

ADAPTED OR MUSICAL SCORE: Andre Previn, BELLS ARE RINGING (2nd: Lionel Newman and Earle Hagen, Let's Make Love, followed by: Nelson Riddle, Can-Can) 



ORIGINAL SONG: "North to Alaska" from NORTH TO ALASKA (Music and lyrics by Mike Phillips) (2nd: "Where the Boys Are" from Where the Boys Are (Music by Neil Sedaka, lyrics by Howard Greenfield), followed by: "Never on Sunday" from Never on Sunday (Music and lyrics by Manos Hadjidakis); "The Facts of Life" from The Facts of Life (Music and lyrics by Johnny Mercer))



SPECIAL EFFECTS: THE TIME MACHINE, The Last Voyage

MAKEUP: THE TIME MACHINE, Jigoku, Eyes Without a Face

1959--The Year in Review

As the 1950s draw to a close, we can see another era looming--one filled with strong voices from around the world. As far as 1959 is concerned, it came down to a gentle battle between two shores. On the American front, few films could rival Billy Wilder's most superb comedy, built so solidly even though its filming was massively troubled (even so, it contained Marilyn Monroe's finest performance, as well as Joe E. Brown's). Hitchcock's North by Northwest arrived as somewhat of a critical disappointment, though that now seems an impossible conclusion. Howard Hawks' Rio Bravo seemed to be the exclamation point on an incredible directorial career. The year's biggest hit was William Wyler's Ben Hur, a lavish biblical epic that reaches its apex in its final third with a thrilling  chariot race directed largely by Andrew Marton and stuntman Yakima Canutt. But, in the end, I had to give it to Truffaut, who delivered the movie that all movie lovers adore, with the young Leaud smashing in the lead. Truffaut's film would stand as a gateway to a forthcoming cinematic world. On the short film front, Robert Frank contributes the premier document of that Beat-driven era, while the Hubleys finally break the Warner Brothers wining streak with their independently-produced masterpiece, constructed upon the babbling talk of their creative kids. NOTE: These are MY choices for each category, and are only occasionally reflective of the selections made by the Academy of Motion Picture Arts and Sciences (aka The Oscars). When available, the nominee that actually won the Oscar will be highlighted in bold.

PICTURE: THE 400 BLOWS (France, François Truffaut)
(2nd: Some Like it Hot (US, Billy Wilder), followed by: 
North by Northwest (US, Alfred Hitchcock)
Rio Bravo (US, Howard Hawks)
Anatomy of a Murder (US, Otto Preminger)
Pickpocket (France, Robert Bresson)
Pork Chop Hill (US, Lewis Milestone)
Hiroshima, Mon Amour (France, Alain Resnais)
The Diary of Anne Frank (US, George Stevens)
Day of the Outlaw (US, André de Toth)
Floating Weeds (Japan, Yasujiro Ozu)
Shadows (US, John Cassavetes)
Ben-Hur (US, William Wyler)
Black Orpheus (Brazil, Marcel Camus)
The Human Condition Part I: No Greater Love (Japan, Masaki Kobayashi)
The Human Condition Part II: The Road to Eternity (Japan, Masaki Kobayashi)
The World of Apu (India, Satyajit Ray)
Jazz on a Summer's Day (US, Bert Stern)
Our Man in Havana (UK, Carol Reed)
The Nun’s Story (US, Fred Zinnemann)
Imitation of Life (US, Douglas Sirk)
Tiger Bay (UK, J. Lee Thompson)
Ride Lonesome (US, Budd Boetticher)
General Della Rovere (Italy, Roberto Rossellini)
Ballad of a Soldier (USSR, Grigori Chukhrai)
Sleeping Beauty (US, Clyde Geronimi)
Fires on the Plain (Japan, Kon Ichikawa)
Les Cousins (France, Claude Chabrol)
Nazarin (Mexico, Luis Bunuel)
Room at the Top (UK, Jack Clayton)
Les Liaisons Dangereuses (France, Roger Vadim)
Look Back in Anger (UK, Tony Richardson)
The Mouse That Roared (UK, Jack Arnold)
The World, The Flesh and The Devil (US, Ranald MacDougall)
The FBI Story (US, Mervyn LeRoy)
Odds Against Tomorrow (US, Robert Wise)
On the Beach (US, Stanley Kramer)
Pillow Talk (US, Michael Gordon)
Plan 9 from Outer Space (US, Edward D. Wood Jr.)
The House on Haunted Hill (US, William Castle)
I’m All Right Jack (UK, John Boulting)
The Hound of the Baskervilles (UK, Terence Fisher)
Porgy and Bess (US, Otto Preminger)
They Came to Codura (US, Robert Rossen)
Journey to the Center of the Earth (US, Henry Levin)
Verboten! (US, Samuel Fuller)
The Mummy (UK, Terence Fisher)
A Summer Place (US, Delmer Daves)
The Tingler (US, William Castle)
A Bucket of Blood (US, Roger Corman)
Espresso Bongo (UK, Val Guest)
The Killer Shrews (US, Ray Kellogg)
The Immoral Mr. Teas (US, Russ Meyer)



ACTOR: Jean-Pierre Léaud, THE 400 BLOWS (2nd: Jack Lemmon, Some Like it Hot, followed by: Cary Grant, North by Northwest; James Stewart, Anatomy of a Murder; Tony Curtis, Some Like it Hot; Robert Ryan, Day of the Outlaw; John Wayne, Rio Bravo; Richard Burton, Look Back in Anger; Paul Muni, The Last Angry Man; Alec Guinness, Our Man in Havana)
 

ACTRESS: Marilyn Monroe, SOME LIKE IT HOT (2nd: Audrey Hepburn, The Nun’s Story, followed by: Emmanuelle Riva, Hiroshima, Mon Amour; Katharine Hepburn, Suddenly Last Summer; Simone Signoret, Room at the Top; Doris Day, Pillow Talk; Jeanne Moreau, Les Liaisons Dangereuses; Lana Turner, Imitation of Life; Lee Remick, Anatomy of a Murder; Elizabeth Taylor, Suddenly Last Summer) 

SUPPORTING ACTOR: Joe E. Brown, SOME LIKE IT HOT (2nd: Dean Martin, Rio Bravo, followed by: George C. Scott, Anatomy of a Murder; Burl Ives, Day of the Outlaw; Joseph Schildkraut, The Diary of Anne Frank; Stephen Boyd, Ben Hur; Hugh Griffith, Ben Hur; James Mason, North by Northwest; Tony Randall, Pillow Talk; Ed Wynn, The Diary of Anne Frank)

SUPPORTING ACTRESS: Juanita Moore, IMITATION OF LIFE (2nd: Jessie Royce Landis, North by Northwest, followed by: Shelley Winters, The Diary of Anne Frank; Susan Kohner, Imitation of Life; Hayley Mills, Tiger Bay; Angie Dickenson, Rio Bravo; Eve Arden, Anatomy of a Murder; Edith Evans, Look Back in Anger; Thelma Ritter, Pillow Talk; Hermione Baddeley, Room at the Top)  



DIRECTOR: Francois Truffaut, THE 400 BLOWS (2nd: Billy Wilder, Some Like it Hot, followed by: Alfred Hitchcock, North by Northwest; Howard Hawks, Rio Bravo; Robert Bresson, Pickpocket; Otto Preminger, Anatomy of a Murder; William Wyler, Ben Hur; George Stevens, The Diary of Anne Frank; Andre De Toth, Day of the Outlaw; Marcel Camus, Black Orpheus)

NON-ENGLISH-LANGUAGE FILM: THE 400 BLOWS (France, François Truffaut) (2nd: Black Orpheus (Brazil, Marcel Camus), followed by: Pickpocket (France, Robert Bresson); Hiroshima, Mon Amour (France, Alain Resnais); Floating Weeds (Japan, Yasujiro Ozu); The Human Condition Part I: No Greater Love (Japan, Masaki Kobayashi); The Human Condition Part II: The Road to Eternity (Japan, Masaki Kobayashi); The World of Apu (India, Satyajit Ray); General Della Rovere (Italy, Roberto Rossellini); Ballad of a Soldier (USSR, Grigori Chukhrai); Fires on the Plain (Japan, Kon Ichikawa); Les Cousins (France, Claude Chabrol); Nazarin (Mexico, Luis Bunuel); Les Liaisons Dangereuses (France, Roger Vadim))

ORIGINAL SCREENPLAY: Francois Truffaut and Marcel Moussy, THE 400 BLOWS (2nd: Marguerite Duras, Hiroshima Mon Amour, followed by: John Cassavetes, Shadows; Robert Bresson, Pickpocket; Sergio Amidei, Diego Fabbri, and Indro Montanelli, General Della Rovere)

ADAPTED SCREENPLAY: Billy Wilder and I.A.L. Diamond, SOME LIKE IT HOT (2nd: Ernest Lehman, North by Northwest, followed by: Wendell Mayes, Anatomy of a Murder; Jules Furthman and Leigh Brackett, Rio Bravo; Frances Goodrich and Albert Hackett, The Diary of Anne Frank)

LIVE ACTION SHORT FILM: PULL MY DAISY (US, Robert Frank) (2nd: The Running, Jumping and Standing Still Film (UK, Richard Lester), followed by: Cat’s Cradle (US, Stan Brakhage); Skyscraper (US, Shirley Clarke); Signal 30 (US, Richard Wayman))



ANIMATED SHORT FILM: MOONBIRD (US, John Hubley, Faith Hubley) (2nd: The Violinist (US, Ernest Pintoff), followed by: Baton Bunny (US, Chuck Jones); Mexicali Shmoes (US, Friz Freleng))

BLACK-AND-WHITE CINEMATOGRAPHY: William C. Mellor, THE DIARY OF ANNE FRANK (2nd: Charles Lang Sr., Some Like it Hot, followed by: Joseph C. Brun, Odds Against Tomorrow; Sacha Vierny and Takahashi Michio, Hiroshima Mon Amour; Russell Harlan, Day of the Outlaw) 

COLOR CINEMATOGRAPHY: Robert Surtees, BEN HUR (2nd: Robert Burks, North by Northwest, followed by: Kazuo Miyagawa, Floating Weeds; Jean Bourgoin, Black Orpheus; Franz Planer, The Nun's Story)  

BLACK-AND-WHITE ART DIRECTION: SOME LIKE IT HOT, The Diary of Anne Frank, Career, Suddenly Last Summer, The Gazebo

COLOR ART DIRECTION: BEN HUR, North by Northwest, Pillow Talk, The Best of Everything, Journey to the Center of the Earth 

BLACK-AND-WHITE COSTUME DESIGN: SOME LIKE IT HOT, The Diary of Anne Frank, Career, The Gazebo, Les Liaisons Dangereuses

COLOR COSTUME DESIGN: BEN HUR, Black Orpheus, Porgy and Bess, The Best of Everything. North by Northwest 



FILM EDITING: NORTH BY NORTHWEST, Ben Hur, Some Like It Hot, Rio Bravo, The 400 Blows 

SOUND: BEN HUR, Some Like it Hot, North by Northwest, The Diary of Anne Frank, The Nun's Story 



ORIGINAL SCORE: Bernard Herrmann, NORTH BY NORTHWEST (2nd: Miklós Rózsa, Ben Hur, followed by: Duke Ellington, Anatomy of a Murder; Max Steiner, A Summer Place; Georges Delarue, The 400 Blows)

ADAPTED OR MUSICAL SCORE: Adolph Deutsch, SOME LIKE IT HOT (2nd: George Bruns, Sleeping Beauty, followed by: Andre Previn and Ken Darby, Porgy and Bess; Nelson Riddle and Joseph J. Lilley, Li'l Abner; Lionel Newman, Say One for Me)



ORIGINAL SONG: "High Hopes" from A HOLE IN THE HEAD (Music by James Van Heusen, lyrics by Sammy Cahn) (2nd: "Lonely Boy" from Girls Town (Music and lyrics by Paul Anka), followed by: "My Rifle, My Pony and Me" from Rio Bravo (Music by Dimitri Tiomkin, lyrics by Paul Francis Webster); "The Best of Everything" from The Best of Everything (Music by Alfred Newman, lyrics by Sammy Cahn); "The Hanging Tree" from The Hanging Tree (Music by Jerry Livingston, lyrics by Mack David))

SPECIAL EFFECTS: BEN HUR, Journey to the Center of the Earth, Darby O’Gill and the Little People

MAKEUP: SOME LIKE IT HOT, The Mummy, Ben Hur