DOMESTIC: Day 66

Friday:
http://www.boxofficemojo.com/daily/chart/

**ESTIMATES**

1. Diary of a Mad Black Woman - $7,000,000 - -- / $4,720 - $7,000,000 / 1
2. Hitch - $6,100,000 - 221.5% / $1,708 - $107,108,000 / 15
3. Cursed - $3,750,000 -- / $1,337 - $3,750,000 / 1
4. Constantine - $3,550,000 - 127.2% / $1,181 - $42,482,000 / 8
5. Man of the House - $3,000,000 -- / $1,239 - $3,000,000 / 1
6. Million Dollar Baby - $1,950,000 - 219% / $918 - $59,457,000 / 73
7. Because of Winn-Dixie - $1,830,000 - 145.6% / $574 - $17,282,000 / 8
8. The Aviator - $1,110,000 - 222.7% / $703 - $91,015,000 / 71
9. Are We There Yet? - $1,040,000 - 149.1% / $464 - $73,406,000 / 36
10. Sideways - $950,000 - 210.2% / $773 - $60,578,000 / 127

___THE PHANTOM of the Opera___
______Domestic Tracking______

http://www.boxofficemojo.com/movies/?pa ... eopera.htm

Day 1 (Wed) - $1,317,931 - 622 / $2,119 - $1,317,931
Day 2 (Thu) - $1,003,746 (-23.8%) - 622 / $1,614 - $2,321,677
Day 3 (Fri) - $803,354 (-20%) - 622 / $1,292 - $3,125,031
Day 4 (Sat) - $1,541,226 (+91.8%) - 622 / $2,478 - $4,666,257
Day 5 (Sun) - $1,657,310 (+7.5%) - 622 / $2,664 - $6,323,567
Weekend 1 - $4,001,890 - 622 / $6,433 - $6,323,567
Day 6 (Mon) - $1,296,075 (-21.8%) - 622 / $2,084 - $7,619,642
Day 7 (Tue) - $1,256,052 (-0.3%) - 622 / $2,019 - $8,875,694
Day 8 (Wed) - $1,224,417 (-2.5% / -7.1%) - 622 / $1,969 - $10,100,111
Day 9 (Thu) - $1,316,087 (+7.5% / +31.1%) - 622 / $2,116 - $11,416,198

Day 10 (Fri) - $1,540,695 (+17.1% / +91.8%) - 622 / $2,477 - $12,956,893
Day 11 (Sat) - $1,855,224 (+20.4% / +20.4%) - 622 / $2,983 - $14,812,117
Day 12 (Sun) - $1,366,314 (-26.4% / -17.6%) - 622 / $2,197 - $16,178,431
Weekend 2 - $4,762,233 (+19%) - 622 / $7,656 - $16,178,431
Day 13 (Mon) - $608,222 (-55.5% / -53.1%) - 622 / $978 - $16,786,653
Day 14 (Tue) - $471,101 (-22.5% / -62.5%) - 622 / $757 - $17,257,754
Day 15 (Wed) - $415,390 (-11.8% / -66.1%) - 622 / $668 - $17,673,144
Day 16 (Thu) - $455,352 (+9.6% / -65.4%) - 622 / $732 - $18,128,496

Day 17 (Fri) - $986,339 (+116.6% / -36%) - 622 / $1,586 - $19,114,835
Day 18 (Sat) - 1,512,497 (+53.3% / -18.5%) - 622 / $2,432 - $20,627,332
Day 19 (Sun) - $921,471 (-39.1% / -32.6%) - 622 / $1,481 - $21,548,803
Weekend 3 - $3,420,307 (-28.2%) - 622 / $5,498 - $21,548,803
Day 20 (Mon) - $308,358 (-66.5% / -49.3%) - 622 / $496 - $21,857,161
Day 21 (Tue) - $327,335 (+6.2% / -30.5%) - 622 / $526 - $22,184,496
Day 22 (Wed) - $324,789 (-0.8% / -21.8%) - 622 / $522 - $22,509,285
Day 23 (Thu) - $377,253 (+16.2% / -17.2%) - 622 / $607 - $22,886,538

Day 24 (Fri) - $996,233 (+164.1% / 1%) - 907 / $1,098 - $23,882,771
Day 25 (Sat) - $1,497,364 (+50.3% / -1%) - 907 / $1,651 - $25,380,135
Day 26 (Sat) - $1,175,550 (-21.5% / 27.6%) - 907 / $1,296 - $26,555,685
Weekend 4 - $3,669,147 (+7.3%) - 907 / $4,045 - $26,555,685
Day 27 (Mon) - $956,348 (-18.6% / 210.1%) - 907 / $1,054 - $27,512,033
Day 28 (Tue) - $358,436 (-62.5% / 9.5%) - 907 / $395 - $27,870,469
Day 29 (Wed) - $326,179 (-9% / 0.4%) - 907 / $360 - $28,196,648
Day 30 (Thu) - $366,376 (+12.3% / -2.9%) - 907 / $404 - $28,563,024

Day 31 (Fri) - $1,546,033 (+322% / +55.2%) - 1,511 / $1,023 - $30,109,057
Day 32 (Sat) - $1,820,646 (+17.8% / +21.6%) - 1,511 / $1,205 - $31,929,703
Day 33 (Sun) - $1,188,755 (-34.7% / +1.1%) - 1,511 / $787 - $33,118,458
Weekend 5 - $4,555,434 (+24.2%) - 1511 / $3,014 - $33,118,458
Day 34 (Mon) - $426,001 (-64.2% / -55.5%) - 1,511 / $282 - $33,544,459
Day 35 (Tue) - $434,004 (+1.9% / +21.1%) - 1,511 / $287 - $33,978,463
Day 36 (Wed) - $421,128 (-3% / +29.1%) - 1,511 / $279 - $34,399,591
Day 37 (Thu) - $486,191 (+15.4% / +32.7%) - 1,511 / $322 - $34,885,782

Day 38 (Fri) - $1,171,217 (+140.9% / -24.2%) - 1,511 / $775 - $36,056,999
Day 39 (Sat) - $1,766,387 (+50.8% / -3%) - 1,511 / $1,169 - $37,823,386
Day 40 (Sun) - $1,095,877 (-38% / -7.8%) - 1,511 / $725 - $38,919,263
Weekend 6 - $4,033,481 (-11.5%) - 1511 / $2,669 - $38,919,263
Day 41 (Mon) - $311,082 (-71.6% / -27%) - 1,511 / $206 - $39,230,345
Day 42 (Tue) - $315,365 (+1.4% / -27.3%) - 1,511 / $209 - $39,545,710
Day 43 (Wed) - $318,459 (+1% / -24.4%) - 1,511 / $211 - $39,864,169
Day 44 (Thu) - $331,227 (+4% / -31.9%) - 1,511 / $219 - $40,195,396

Day 45 (Fri) - $797,499 (+140.8% / -31.9%) - 1,515 / $526 - $40,992,895
Day 46 (Sat) - $1,283,320 (+60.9% / -27.3%) - 1,515 / $847 - $42,276,215
Day 47 (Sun) - $528,221 (-58.8% / -51.8%) - 1,515 / $349 - $42,804,436
Weekend 7 - $2,609,040 (-35.3%) - 1515 / $1,722 - $42,804,436
Day 48 (Mon) - $212,200 (-59.8% / -31.8%) - 1,515 / $140 - $43,016,636
Day 49 (Tue) - $217,014 (+2.3% / -31.2%) - 1,515 / $143 - $43,233,650
Day 50 (Wed) - $200,566 (-7.6% / -37%) - 1,515 / $132 - $43,434,216
Day 51 (Thu) - $240,476 (+19.9% / -27.4%) - 1,515 / $159 - $43,674,692

Day 52 (Fri) - $511,745 (+112.8% / -35.8%) - 1,365 / $375 - $44,186,437
Day 53 (Sat) - $867,474 (69.5% / -32.4%) - 1,365 / $636 - $45,053,911
Day 54 (Sun) - $508,153 (-41.4% / -3.8%) - 1,365 / $372 - $45,562,064
Weekend 8 - $1,887,372 (-27.7%) - 1,365 / $1,382 - $45,562,064
Day 55 (Mon) - $334,323 (-34.2% / 57.6%) - 1,365 / $245 - $45,896,387
Day 56 (Tue) - $157,380 (-52.9% / -27.5%) - 1,365 / $115 - $46,053,767
Day 57 (Wed) - $156,261 (-0.7% / -22.1%) - 1,365 / $114 - $46,210,028
Day 58 (Thu) - $186,268 +(19.2% / -22.5%) - 1,365 / $136 - $46,396,296

Day 59 (Fri) - $304,687 (+63.6% / -40.5%) - 902 / $338 - $46,700,983
Day 60 (Sat) - - 902 / -
Day 61 (Sun) - $479,261 (+57.3% / -44.8%) - 902 / $531 - $47,180,244
Weekend 9 - $1,093,014 (-42.1%) - 902 / $1,211 - $47,489,310
Day 62 (Mon) - $229,128 (-25.9% / -31.5%) - 902 / $254 - $47,718,438
Day 63 (Tue) - $97,286 (-57.5% / -38.2%) - 902 / $108 - $47,815,724
Day 64 (Wed) - $101,116 (+3.9% / -35.3%) - 902 / $112 - $47,916,840
Day 65 (Thu) - $111,165 (+9.9% / -40.3%) - 902 / $123 - $48,028,005

DOMESTIC: Comparable Movies

Love Actually:

Weekend 1 - $6,886,080 - 576 / $11,955 - $6,886,080
Weekend 2 - $8,698,030 (+26.3%) - 1177 / $7,390 - $18,861,700
Weekend 3 - $8,644,555 (-0.6%) - 1,690 / $5,115 - $30,436,985
Weekend 4 - $8,218,630 (-4.9%) - 1,714 / $4,795 - $43,390,140
Weekend 5 - $3,561,360 (-56.7%) - 1,672 / $2,130 - $48,743,275
Weekend 6 - $2,114,095 (-40.6%) - 1,566 / $1,349 - $52,171,570
Weekend 7 - $1,145,395 (-45.8%) - 902 / $1,269 - $54,184,810
Weekend 8 - $828,365 (-27.7%) - 408 / $2,030 - $55,885,240
Weekend 9 - $732,755 (-11.5%) - 406 / $1,804 - $57,429,915

Bridget Jones 2: Edge of Reason:

Weekend 1 - $8,684,055 - 530 / $16,385 - $8,684,055
Weekend 2 - $10,044,890 - 2450 / $4,099 - $21,511,685
Weekend 3 - $6,231,960 (-38%) - 2473 / $2520 - $31,963,405
Weekend 4 - $2,761,455 (-55.7%) - 2,433 / $1,135 - $36,321,105
Weekend 5 - $1,114,155 (-59.7%) - 1,701 / $655 - $38,413,455
Weekend 6 - $331,500 (-70.2%) - 514 / $644 - $39,314,970
Weekend 7 - $67,220 (-79.7%) - 188 / $357 - $39,594,770
Weekend 8 - $131,755 (+96%) - 216 / $609 - $39,877,945
Weekend 9 - $123,760 (-6.1%) - 221 / $560 - $40,069,690
Weekend 10 - $63,220 (-48.9%) - 116 / $545 - $40,192,580

Shall We Dance?:

Weekend 1 - $11,783,467 - 1772 / $6,649 - $11,783,467
Weekend 2 - $8,589,988 (-27.1%) - 2419 / $3,551 - $24,418,113
Weekend 3 - $6,285,963 (-26.8%) - 2476 / $2,538 - $33,940,119
Weekend 4 - $5,663,514 (-9.9%) - 2542 / $2,227 - $42,144,287
Weekend 5 - $4,024,327 (-28.9%) - 2,065 / $1,948 - $48,670,607
Weekend 6 - $2,336,883 (-41.9%) - 1,535 / $1,522 - $52,294,268
Weekend 7 - $1,506,946 (-35.5%) - 1,054 / $1,429 - $54,719,257

Evita:

Weekend 1 - $195,085 - 2 / $97,543 - $334,440
Weekend 2 - $1,064,660 (+445.74%) - 22 / $48,394 - $2,225,737
Weekend 3 - $8,381,055 (+687.20%) - 704 / $11,905 - $11,234,712
Weekend 4 - $8,918,183 (+6.41%) - 923 / $9,662 - $23,072,988
Weekend 5 - $5,415,891 (-39.27%) - 1,016 / $5,331 - $30,465,756
Weekend 6 - $4,374,631 (-19.23%) - 1,038 / $4,214 - $36,750,253
Weekend 7 - $3,001,066 (-31.40%) - 1,045 / $2,872 - $40,993,867
Weekend 8 - $2,524,722 (-15.87%) - 956 / $2,641 - $44,436,127
Weekend 9 - $1,228,586 (-51.34%) - 870 / $1,412 - $46,266,762
Weekend 10 - $757,665 (-38.33%) - 733 / $1,034 - $47,470,268

Beauty & The Beast:

Weekend 2 - $9,624,149 - 977 / $9,851 - $9,917,522
Weekend 3 - $12,239,650 (+27.18%) - 1,118 / $10,948 - $26,476,215
Weekend 4 - $5,969,372 (-51.23%) - 1,118 / $5,339 - $34,112,416
Weekend 5 - $4,575,124 (-23.36%) - 1,123 / $4,074 - $39,967,101
Weekend 6 - $4,863,315 (+6.30%) - 1,925 / $2,526 - $46,047,138
Weekend 7 - $10,670,669 (+119.41%) - 1,940 / $5,500 - $63,690,996
Weekend 8 - $8,804,918 (-17.48%) - 1,940 / $4,539 - $82,470,981
Weekend 9 - $4,840,087 (-45.03%) - 1,960 / $2,469 - $88,917,830
Weekend 10 - $5,275,625 (+9.00%) - 1,805 / $2,923 - $95,240,876

Chicago:

Weekend 4 - $7,602,133 (+33.58%) - 557 / $13,648 - $29,403,704
Weekend 5 - $8,238,709 (+8.37%) - 616 / $13,375 - $40,386,310
Weekend 6 - $7,052,983 (-14.39%) - 623 / $11,321 - $50,631,500
Weekend 7 - $10,786,533 (+52.94%) - 1841 / $5,859 - $63,803,153
Weekend 8 - $12,708,956 (+17.82%) - 2,268 / $5,604 - $82,606,872
Weekend 9 - $8,241,306 (-35.15%) - 2,355 / $3,499 - $94,094,784
Weekend 10 - $7,853,903 (-4.70%) - 2,447 / $3,210 - $104,901,344
Weekend 11 - $6,844,634 (-12.85%) - 2,600 / $2,633 - $114,442,185
Weekend 12 - $7,105,479 (+3.81%) - 2,600 / $2,733 - $124,845,340

Moulin Rouge:

Weekend 3 - $13,718,306 (+7,004.32%) - 2,279 / $6,019 - $14,394,913
Weekend 4 - $7,649,148 (-44.24%) - 2,283 / $3,350 - $27,569,224
Weekend 5 - $5,030,265 (-34.24%) - 2,084 / $2,414 - $36,629,874
Weekend 6 - $3,851,923 (-23.43%) - 1,585 / $2,430 - $43,433,722
Weekend 7 - $2,447,646 (-36.46%) - 1,271 / $1,926 - $48,023,940
Weekend 8 - $1,352,672 (-44.74%) - 648 / $2,087 - $50,951,493
Weekend 9 - $753,303 (-44.31%) - 492 / $1,531 - $52,467,635
Weekend 10 - $410,387 (-45.52%) - 379 / $1,083 - $53,345,164
Weekend 11 - $363,755 (-11.36%) - 356 / $1,022 - $54,029,521

DOMESTIC: 2004 Yearly

http://www.boxofficemojo.com/yearly/cha ... 004&p=.htm

60 King Arthur BV $51,882,244 3,086 $15,193,907 3,086 7/07 10/14
61 A Cinderella Story WB $51,438,175 2,625 $13,623,350 2,625 7/16 10/21
62 Resident Evil: Apocalypse SGem $51,201,453 3,284 $23,036,273 3,284 9/10 11/04
63 Home on the Range BV $50,030,461 3,058 $13,880,771 3,047 4/02 8/26
64 The Phantom of the Opera WB $48,028,005 1,515 $4,001,890 622 12/22 -
65 Secret Window Sony $48,022,900 3,018 $18,237,568 3,018 3/12 6/03
66 Fat Albert Fox $47,752,406 2,744 $10,021,510 2,674 12/25 -
67 Walking Tall MGM $46,437,717 2,836 $15,501,114 2,836 4/02 7/29
68 Finding Neverland Mira. $46,240,764 1,411 $220,524 8 11/12 -
69 In Good Company Uni. $44,794,652 1,963 $151,750 3 12/29 -
70 Napoleon Dynamite FoxS $44,540,956 1,027 $116,666 6 6/11 2/06

DOMESTIC - Theatre Counts

February 25
Updated Thursday afternoons
http://www.boxofficemojo.com/counts/cha ... =08&p=.htm

1 1 Hitch Sony 3,571 -4 3
2 2 Because of Winn-Dixie Fox 3,188 0 2
3 3 Constantine Warner Bros. 3,006 0 2
4 4 Son of the Mask New Line 2,966 0 2
5 - Cursed Dimension 2,805 - 1
6 - Man of the House Sony 2,422 - 1
7 7 Are We There Yet? Sony 2,242 -277 6
8 8 Million Dollar Baby Warner Bros. 2,125 +20 11
9 5 Boogeyman Sony / Screen Gems 2,027 -545 4
10 6 Pooh's Heffalump Movie Buena Vista 1,944 -585 3
11 10 The Aviator Miramax 1,579 -131 11
12 - Diary of a Mad Black Woman Lions Gate 1,483 - 1
13 11 The Wedding Date Universal 1,265 -301 4
14 9 Hide and Seek Fox 1,254 -525 5
15 13 Sideways Fox Searchlight 1,229 -71 19
16 12 Racing Stripes Warner Bros. 835 -585 7
17 14 Meet the Fockers Universal 795 -494 10
18 17 Finding Neverland Miramax 776 -84 16
19 15 Coach Carter Paramount 744 -221 7
20 16 The Phantom of the Opera Warner Bros. 603 -299 10

MUSICAL Showdown



http://www.boxofficemojo.com/franchises ... owdown.htm

Week 9

Friday:
Moulin Rouge - $231,431 (+28.3% / -42.2%) - $51,945,763 / 57
The Phantom of the Opera - $304,687 (+63.6% / -40.5%) - $46,700,983 / 59
Evita - $322,842 (+78.6% / -44.6%) - $45,361,018 / 57

Saturday:
Moulin Rouge - $311,793 (4.7% / -43.4%) - $52,257,556 / 58
The Phantom of the Opera - $479,261 (+57.3% / -44.8%) - $47,180,244 / 60
Evita - $568,275 (+76% / -38.3%) - $45,929,293 / 58

Sunday:
Moulin Rouge - $210,079 (-32.6% / -47.7%) - $52,467,635 / 59
The Phantom of the Opera - $309,066 (-35.5% / -39.2%) - $47,489,310 / 61
Evita - $337,469 (-40.6% / -47.7%) - $46,266,762 / 59[/quote]

Monday:
Moulin Rouge - $112,995 (-46.2% / -32.1%) - $52,580,630 / 60
The Phantom of the Opera - $229,128 (-25.9% / -31.5%) - $47,718,438 / 62
Evita - $93,383 (-72.3% / -75.2%) - $46,360,145 / 60

Tuesday:
Moulin Rouge - $149,968 (+32.7% / -32.8%) - $52,730,598 / 61
The Phantom of the Opera - $97,286 (-57.5% / -38.2%) - $47,815,724 / 63
Evita - $141,361 (+51.4% / -38.8%) - $46,501,506 / 61

Wednesday:
Moulin Rouge - $105,632 (-29.6% / -45.2%) - $52,836,230 / 62
The Phantom of the Opera - $101,116 (+3.9% / -35.3%) - $47,916,840 / 64
Evita - $104,088 (-26.4% / -45.4%) - $46,605,594 / 62

Thursday:
Moulin Rouge - $98,547 (-6.7% / -45.4%) - $52,934,777 / 63
The Phantom of the Opera - $111,165 (+9.9% / -40.3%) - $48,028,005 / 65
Evita - $107,009 (+2.8% / -40.8%) - $46,712,603 / 63

RAZZIES - Halle Berry 'Honored' As Worst Actress

Saturday February 26 10:39 PM ET
http://www.forums-oscarwatch.com/forums ... adid=24928

Halle Berry won an Academy Award. Now she's won a Razzie. George W. Bush and Arnold Schwarzenegger won elections. Now they've won Razzies. Berry was picked Saturday as worst actress for 2004's action bomb "Catwoman," which also took the prize for worst film at the 25th annual Razzies, an Oscar spoof that trashes Hollywood's lowpoints.

Bush won the worst-actor award for his appearance in news and archival footage of Michael Moore's satiric documentary "Fahrenheit 9/11." Defense Secretary Donald Rumsfeld was voted worst supporting-actor for "Fahrenheit 9/11," while Britney Spears' fleeting cameo in the documentary brought her the worst supporting-actress Razzie.

Razzies founder John Wilson said the prizes were not meant to mock Moore's film, only the statements Bush and the others make while "putting their highly paid, highly skilled feet in their mouths repeatedly and sucking on them."


Schwarzenegger, who gave up Hollywood to become California governor, was chosen worst Razzie loser of the first 25 years, a special prize given to actors who had received the most nominations without ever winning a Razzie. His latest loss also came Saturday, to Rumsfeld in the supporting category, in which Schwarzenegger was nominated for "Around the World in 80 Days."

Chosen by about 675 voters around the world, Razzies also were awarded for worst films of the group's first 25 years: Drama, "Battlefield Earth"; comedy, "Gigli"; and musical, "From Justin to Kelly."

Other 2004 Razzies went to "Scooby-Doo 2: Monsters Unleashed" for worst sequel and "Catwoman" for worst director (Pitof) and screenplay.

Wilson relishes savaging perpetual winners such as Sylvester Stallone and Madonna. In the case of Berry, an Oscar winner three years ago for "Monster's Ball," Wilson felt sympathy, saying "Catwoman" was simply the result of a misguided career move.

"It's kind of like the old Disneyland commercial. Halle Berry, you just won an Oscar. What are you going to do now? I'm going to play ... `Catwoman'?" Wilson said.

"Don't get us wrong. She's a very talented actress, a very beautiful woman, who just made a mistake. We're not trashing Halle Berry as a human being. We're only saying, we're so sorry you chose to do this."

This is freakin hilarious, i love the Razzies, their (the fans) choices are so lame and political :razz: , George Bush, Donald Rumsfeld, Britney Spears......you so know that they will win... :razz:

Alexander didn't get any wins :razz: , which is good because i didn't think it was that bad.....

And thank god Phantom didn't get any nominations here, which just means that the Critics are so far removed from the general public :razz:

WEST SIDE STORY (1961)

BOX OFFICE = $43,656,822



West Side Story (1961) is an energetic, widely-acclaimed, melodramatic musical - a modern-day, loose re-telling of Shakespeare's Romeo and Juliet tragedy of feuding families, although the setting is the Upper West Side of New York City in the late 1950s. West Side Story is still one of the best film adaptations of a musical ever created, and the finest musical film of the 60s. It arrived at a time when the silver screen was realizing tremendous competition from TV and other genres of cinematic entertainment.



The ground-breaking, dynamic film of 1961 was based on the successful Broadway hit - a staged musical play (opening in 1957) by writer Arthur Laurents and directed/choreographed by Jerome Robbins. The play reworked the traditional love story material (of lovers that crossed racial/ethnic barriers) and translated it, in a radical, novel and revolutionary style for a musical, to include racial strife between rival New York street gangs (newly-arrived Puerto Ricans and second-generation Americans from white European immigrant families), juvenile delinquency and inner-city problems of the mid-twentieth century - in exhilarating musical and dance form. To capture the realism of the social tragedy and its urban environment, some of the film was shot on location in Manhattan (in abandoned West Side tenements around 110th St., and other settings), but most of it was actually filmed on sound stages with stylized, artificial studio sets.

WEST SIDE STORY (1961)



1962 Academy Awards: 11 Nominations - 10 Wins
WON - Best Picture
WON - Best Director - Robert Wise & Jerome Robbins (First time Directing award has been shared)
WON - Best Actor in a Supporting Role - George Chakiris
WON - Best Actress in a Supporting Role - Rita Moreno
WON - Best Art Direction-Set Decoration, Color
WON - Best Cinematography, Color
WON - Best Costume Design, Color
WON - Best Film Editing
WON - Best Music, Scoring of a Musical Picture
WON - Best Sound

NOM - Best Writing, Screenplay Based on Material from Another Medium

1962 Golden Globes: 3 Nominations - 3 Wins
WON - Best Motion Picture - Musical
WON - Best Supporting Actor - George Chakiris
WON - Best Supporting Actress - Rita Moreno

1963 Guild Awards of America
WON – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures
WON – Writers Guild of American (WGA) - Best Written American Musical

1963 BAFTA Awards - 1 Nomination - 0 Wins
NOM - Best Film from any Source - USA

1962 Grammy Awards - 1 Nomination - 1 Win
WON - Best Soundtrack Album or Recording of Original Cast from Motion Picture or Television



The much-praised, box-office blockbuster for United Artists received eleven Academy Award nominations and won all but one - Best Adapted Screenplay. Its achievement as a ten Oscar winner has only been surpassed by three films (each with eleven Oscars): Ben-Hur (1959), Titanic (1997) and ROTK (2003).

West Side Story's Oscar awards include: Best Picture, Best Director (Wise and Robbins - the first time that awards went to co-directors), Best Supporting Actor and Actress (George Chakiris in his first major film role and Rita Moreno), Best Color Cinematography, Best Color Art Direction/Set Decoration, Best Sound, Best Scoring of a Musical Picture, Best Film Editing, and Best Color Costume Design. Robbins was also awarded a special statuette for "his brilliant achievements in the art of choreography on film." Robert Wise won his second directorial Oscar for The Sound of Music (1965). Natalie Wood was un-nominated for West Side Story, but she was competing for a Best Actress Oscar (that she lost to Sophia Loren for Two Women) for her role in Spendor in the Grass (1961).

MY FAIR LADY (1964)

BOX OFFICE GROSS = $72,000,000



My Fair Lady (1964) was experienced director George Cukor's film musical adaptation of George Bernard Shaw's 1912 play Pygmalion that had played successfully on Broadway from March 15, 1956 to 1962. Shaw's plot was derived from Latin poet Ovid's story (in the Metamorphoses) about a character named Pygmalion who fell in love with a beautiful ivory statue of a woman. In later Greek tradition, his prayers to Venus that the beloved statue - Galatea - would come to life came true so that they could marry.

Warner Bros.' musical romantic comedy was expensive-to-produce (at $17 million) - their most expensive film to date, partially due to the fact that the studio had to pay $5.5 million for film rights to the popular Broadway hit. It turned out to be one of the top five most successful films in 1964 - a combination of clever lyrics and singable tunes, with a great lead and supporting cast, and lavishly-designed theatrical sets and costumes. Alan Jay Lerner, who was responsible for the screenplay, co-wrote the music and lyrics with Frederick (Fritz) Loewe. Producer Jack Warner's will prevailed and the Cockney flower vendor character played by little-known Julie Andrews on Broadway was replaced by well-known, non-singing 'Cinderella' actress Audrey Hepburn (whose voice was dubbed by Marnie Nixon although Hepburn sang her own tracks) - to guarantee greater box-office business.



The title credits and musical overture from the film are accompanied by colorful, dazzling close-ups of spring flowers - which happen to line the stairway of the Covent Garden Opera house. Elegantly-dressed, high-society opera-goers are leaving after a performance and heading for horse-drawn cabs and motorized vehicles. They begin bustling about to find shelter when rain begins to fall. Street vendors cover their wares in the marketplace. Young Freddie Eynsford-Hill (Jeremy Brett) collides with Eliza Doolittle (Audrey Hepburn), a disheveled Cockney flower vendor, while looking for a cab for his mother Mrs. Eynsford-Hill (Isobel Elsom). Eliza accuses both of them of ruining her "full day's wages" of scattered violets that are now trod in the mud: "Well, if you'd done your duty by him as a mother should, you wouldn't let him spoil a poor girl's flowers and then run away without payin'."

MY FAIR LADY (1964)



1965 Academy Awards: 12 Nominations - 8 Wins
WON - Best Picture
WON - Best Director - George Cukor
WON - Best Actor in a Leading Role - Rex Harrison
WON - Best Art Direction-Set Decoration, Color
WON - Best Cinematography, Color
WON - Best Costume Design, Color
WON - Best Music, Scoring of Music, Adaptation or Treatment
WON - Best Sound

NOM - Best Actor in a Supporting Role - Stanley Holloway
NOM - Best Actress in a Supporting Role - Gladys Cooper
NOM - Best Film Editing
NOM - Best Writing, Screenplay Based on Material from Another Medium

1965 Golden Globes: 5 Nominations - 3 Wins
WON - Best Motion Picture - Musical/Comedy
WON - Best Motion Picture Actor - Musical/Comedy - Rex Harrison
WON - Best Motion Picture Director - George Cukor

NOM - Best Motion Picture Actress - Musical/Comedy - Audrey Hepburn (LOST to Julie Andrews, Marry Poppins)
NOM - Best Performance by an Actor in a Supporting Role - Motion Picture - Stanley Holloway (LOST to Edmond O'Brien, Seven Days in May)

1966 BAFTA Awards: 2 Nominations – 1 Win
WON - Best Film from any Source

NOM - Best British Actor - Rex Harrison

1966 Guild Awards of America
WON – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures

NOM – Writers Guild of American (WGA) - Best Written American Musical

---

It was a very tough year at the 1965 Golden Globes. The Musical and Comedy section featured two of the key frontrunners: with Marry Poppins and My Fair Lady going head to head in all major categories.

Ironically, Julie Andrews was awarded a Best Actress Academy Award for her role in Disney's competing film Mary Poppins, and Hepburn failed to receive a nomination for her part. [During her acceptance speech, Andrews thanked Jack Warner "for making this possible."] Rex Harrison reprised his legendary stage performance on celluloid as the linguistics professor with a unique 'non-singing' vocal style. Lerner and Loewe's score for the musical includes some of the best known songs and lyrics ever: "The Rain in Spain," "I Could Have Danced All Night," "On the Street Where You Live," "I'm Getting Married in the Morning," "With a Little Bit of Luck," and "I've Grown Accustomed to Her Face."

George Cukor, a veteran 'women's director,' made a sumptuous, glamorous, brilliant Technicolor film with well-loved tunes - it was honored with twelve Academy Award nominations and eight wins, including Best Picture, Best Actor (Rex Harrison), Best Director (Cukor's only Best Director award in his career), Best Color Cinematography (in widescreen 70 mm), Best Color Art Direction/Set Decoration, Best Sound, Best Score (Andre Previn), and Best Color Costume Design (Cecil Beaton). The four losing categories were Best Supporting Actor and Actress (Stanley Holloway and Gladys Cooper), Best Screenplay Based on Material from Another Medium, and Best Film Editing. In the decade of the 60s, My Fair Lady joined two other highly praised, big box-office films when it won the Academy Award for Best Picture (as did West Side Story (1961) and The Sound of Music (1965)).

MARY POPPINS (1964)

BOX OFFICE GROSS = $31,000,000 ($102,272,727 Lifetime)



The film that saved Disney Studios from financial ruin is a magical family fantasy from beginning to end. A banker's children get the nanny they want (Julie Andrews) and she goes about using magic to help them explore their world. The increasingly disapproving father has to come to grips with his own distance from his family.

The first Mary Poppins novel, written by P L Travers, was published in 1934 and soon found its way into the hands of Walt Disney. In 1938 he started negotiations to turn the tales into a film but his offers were only eventually accepted by Travers in the very late 1950s. Cannily, the author wanted certain concessions from the famed filmmaker, concessions that included script approval and live-action over cartoon. When these requirements were met (and the sales of the original books were falling) the deal for film rights was accepted and so one of the most popular family films in existence started its journey to the silver screen, where it was eventually released in 1964 to mass critical acclaim that is still relevant today.



Adventures in this film include jumping through a pavement chalk drawing into the world it represents, mixing with animated people and animals, walking the rooftops of London with smoke for a staircase and supping tea at just below ceiling level. But throughout, Mary Poppins is helping Jane and Michael learn some useful life lessons, such as kindness and compassion. The film is also well and truly a musical – apparently the first original film musical since Gigi in 1958 – and the songs that crop up throughout fit the film so well that it's hard to imagine P L Travers not approving of many of them. Ironically, in a time when stage musicals (such as Evita, Chicago and Phantom of the Opera) are being transformed for the screen, the London stage version of Mary Poppins has just received its premiere (December 15th 2004). This snippet of information only really serves once again to highlight the enduring charm and appeal of Mary Poppins to a wide audience and the strength of the songs written and composed by Robert and Richard Sherman, who won the Best Song Oscar for 'Chim Chim Cheree'.

MARY POPPINS (1964)



1965 Academy Awards: 13 Nominations - 5 Wins
WON - Best Actress in a Leading Role - Julie Andrews
WON - Best Effects, Special Visual Effects
WON - Best Film Editing
WON - Best Music, Original Song - For the song "Chim Chim Cher-ee"
WON - Best Music, Score - Substantially Original

NOM - Best Picture
NOM - Best Director - Robert Stevenson
NOM - Best Art Direction-Set Decoration, Color
NOM - Best Cinematography, Color
NOM - Best Costume Design, Color
NOM - Best Music, Scoring of Music, Adaptation or Treatment
NOM - Best Sound
NOM - Best Writing, Screenplay Based on Material from Another Medium

1965 Golden Globes: 4 Nominations - 1 Win
WON - Best Motion Picture Actress - Musical/Comedy - Julie Andrews

NOM - Best Motion Picture - Musical/Comedy (LOST to My Fair Lady)
NOM - Best Motion Picture Actor - Musical/Comedy - Dick Van Dyke (LOST to Rex Harrison, My Fair Lady)
NOM - Best Original Score - Robert B. Sherman / Richard M. Sherman (LOST to The Fall of the Roman Empire, Dimitri Tiomkin)

1965 BAFTA Awards: 1 Nomination – 1 Win
WON - Most Promising Newcomer to Leading Film Roles - Julie Andrews

1965 Grammy Awards:
WON - Best Original Score Written for a Motion Picture or Television Show

1965 Guild Awards of America
WON – Writers Guild of American (WGA) - Best Written American Musical
WON – American Cinema Editors (ACE) - Best Edited Feature Film

NOM – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures

--

Although Mary Poppins did win its fair share of the awards in 1965, it was shut out of all major categories except Best Actress for Julie Andrews. Although it lead in nominations (13 vs. My Fair Lady's 12), Marry Poppins only picked up 5 awards.....mostly in techies.....and for the song "Chim Chim-cheree"

THE SOUND OF MUSIC (1965)

BOX OFFICE GROSS = $158,671,368



The Sound of Music (1965) was an exceptionally successful film in the mid-1960s - at the time of its release, it surpassed Gone With the Wind (1939) as the number one box office hit of all time. It was the high-point of the Hollywood musical. [In 1978, the film's status as the most successful life-action musical was finally surpassed by Grease (1978). However, it was earlier ousted by the box-office epic The Godfather (1972).]

This wholesome production from producer/director Robert Wise (of the previously popular West Side Story (1961) for which he won the same two Oscars) and 20th Century Fox has become one of the most favorite, beloved films of moviegoers. It is a joyous, uplifting, three-hour adaptation of Richard Rodgers and Oscar Hammerstein II's 1959 hit Broadway stage musical (that starred Mary Martin). [This was the well-known partnership's last collaboration]. The story follows a good-natured, flighty novitiate (Andrews) who is hired to care for the seven children of a militaristic, icy, widowed Austrian captain (Plummer). She ultimately wins the heart of the children - and the captain, but their lives are threatened by the encroachment of Nazis.

Marketing slogans cried: "The Happiest Sound in All the World." Ernest Lehman's screenplay was based on the book by Howard Lindsay and Russel Crouse. That book was in turn based on Baroness Maria von Trapp's 1949 autobiography (The von Trapp Family Singers) about the exploits of the family of singers and their escape from the Nazis in Austria in 1938. The first film version was a German film titled Die Trapp-Familie (1956), with a sequel Die Trapp-Familie in Amerika (1958). After the 1965 film's enormous success, Fox Studios unwisely invested millions in three more, less profitable, blockbuster musicals in the late 60s - Dr. Doolittle (1967), Star! (1968), and Hello, Dolly! (1969).



The opening sequence of The Sound of Music is a much-heralded, breath-taking piece of film-making. With a sweeping aerial view, the film opens with a left-to-right camera pan through the clouds and across rocky, snow-covered mountains. The camera dips into a green, wooded valley with steep cliffs that descend into a snow-fed lake. Reflections of the hills are viewed in the mirror-like images on the water's surface. As the camera moves over the European landscape and village, it discovers an open, green area nestled between the peaks. It moves closer and zooms into the green field, where it suddenly finds a happy and joyous Maria (Julie Andrews), a novice Salzburg Austrian nun, walking across the wide expanse of land. With open-armed appreciation of the beauty of the surrounding majestic peaks and vistas of the Austrian Alps, she twirls and sings the title song. For her: "The Hills Are Alive With the Sound of Music."

THE SOUND OF MUSIC (1965)



1966 Academy Awards: 10 Nominations - 5 Wins
WON - Best Picture
WON - Best Director - Robert Wise
WON – Best Film Editing
WON – Best Music, Scoring of Music, Adaptation or Treatment
WON - Best Sound

NOM - Best Actress in a Leading Role - Julie Andrews
NOM - Best Actress in a Supporting Role - Peggy Wood
NOM - Best Art Direction-Set Decoration, Color
NOM - Best Cinematography, Color
NOM - Best Costume Design, Color

1966 Golden Globes: 4 Nominations - 2 Wins

WON - Best Motion Picture - Musical/Comedy
WON - Best Motion Picture Actress - Musical/Comedy - Julie Andrews

NOM - Best Motion Picture Director - Robert Wise
NOM - Best Supporting Actress - Peggy Wood

1966 BAFTA Awards: 1 Nomination – 0 Wins
NOM - Best British Actress - Julie Andrews

Guild Awards of America
WON – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures
WON – Writers Guild of American (WGA) - Best Written American Musical
WON – American Cinema Editors (ACE) - Best Edited Feature Film

---

The star of the film was the previous year's Best Actress Academy Award winner, a fresh-faced Julie Andrews in a similar role as her governess performance in Mary Poppins (1964). She is accompanied by her lovely singing voice, glorious, on-location travelogue views of Salzburg, Austria filmed in 70 mm, and melodic, memorable sing-along tunes, including "Maria," "The Sound of Music," "My Favorite Things," "You Are Sixteen, Going On Seventeen," "Climb Ev'ry Mountain," "Do-Re-Mi," and "Edelweiss."

The sentimental, entertaining musical was nominated for ten Academy Awards, and came away with five major wins: Best Picture and Best Director (Robert Wise), Best Sound, Best Score (Irwin Kostal), and Best Film Editing (William Reynolds). Its other five nominations were for Best Actress (Julie Andrews who lost to Julie Christie in Darling), Best Supporting Actress (Peggy Wood), Best Color Cinematography (Ted McCord), Best Color Art Direction/Set Decoration, and Best Color Costume Design.

OLIVER! (1968)



Oliver! (1968) was as magical as any musical film could hope to be. It dazzled in all departments, with unforgettable performances by Ron Moody as Fagin and young Jack Wild as the precocious Artful Dodger. British director Carol Reed and American choreographer Onna White fashioned a lasting triumph. The film received six Academy Awards, including Best Picture and Director.

Oliver was the fourth musical in ten years to win Best Picture – no previous decade had seen more than two musicals cop the top prize. It would be thirty four years before the Academy Award went to another musical.



Oliver! is a filmed version of the Broadway play of the same name, which is a musical version of Charles Dickens' literary classic, Oliver Twist. The spectacular cast includes the heartrending Mark Lester as Oliver Twist, Harry Secombe as the stuffy Mr. Bumble, Shani Wallis as Nancy, and Jack Wild as the Artful Dodger. Oliver Reed makes one of the most chilling screen villains of all time out of his performance as Bill Sikes. And Ron Moody, the piece de resistance, is an unbridled delight as Fagin, a character that can be shifty, hilarious, menacing, or meek, and supremely convincing at all. His exaggerated eye rolls and snake-like hands are greatly entertaining mannerisms of his delicious scene-stealing performance.

In spite of the songs, the story is told faithfully, not just in what happens but in the way it happens. The recreation of old England is spectacular and expansive and, when the scene shifts to the poorer districts, not always pleasant. (Fagin's hideout is as slipshod and grimy as he is.) The harshness and poignancy of Oliver's troubles, and the sweetness and relief of the end of his quest for love are starkly vivid.

With such fascinating characters, great performances, the strength of Dickens' original story, fine musical numbers, skilled direction and editing, effective sets and costumes, and high production values, Oliver! is a truly wonderful film in every sense. It's a classic

OLIVER! (1968)



1969 Academy Awards: 11 Nominations - 5 Wins
WON - Best Picture
WON - Best Director - Carol Reed
WON - Best Art Direction-Set Decoration
WON - Best Music, Score of a Musical Picture (Original or Adaptation)
WON - Best Sound

NOM - Best Actor in a Leading Role - Ron Moody
NOM - Best Actor in a Supporting Role - Jack Wild
NOM - Best Cinematography
NOM - Best Costume Design
NOM - Best Film Editing
NOM - Best Writing, Screenplay Based on Material from Another Medium

1969 Golden Globes: 5 Nominations - 2 Wins
WON - Best Motion Picture - Musical/Comedy
WON - Best Motion Picture Actor - Musical/Comedy - Ron Moody

NOM - Best Motion Picture Director - Carol Reed
NOM - Best Supporting Actor - Hugh Griffith
NOM - Most Promising Newcomer - Male - Jack Wild

1969 BAFTAs: 8 Nominations - 0 Wins
NOM - Best Film
NOM - Best Direction - Carol Reed
NOM - Best Actor - Ron Moody
NOM - Best Art Direction
NOM - Best Costume Design
NOM - Best Film Editing
NOM - Best Newcomer - Jack Wild
NOM - Best Sound Track

1969 Guild Awards of America
NOM - American Cinema Editors - Best Edited Feature Film
NOM - DGA - Outstanding Directorial Achievement in Motion Pictures

--

This "Musical adaptation about an orphan who runs away from an orphanage and hooks up with a group of boys trained to be pickpockets by an elderly mentor" - was the last of the 1960s Golden Musicals to win Best Picture at the Academy Awards. It would take another 36 years for the genre to be praised as Best Picture, that of course being Chicago.

While Ron Moody won at the GGs, he was stopped at the Academy Awards by Cliff Robertson (Charly) - in a highly competitive year which included Peter O'Tool for The Lion In Winter (who won Best Actor - Drama at the GGs)

FIDDLER ON THE ROOF (1971)



Fiddler on the Roof, based on the short story "Tevye and His Daughters" by Sholom Aleichem, was one of the first musicals to defy Broadway's established rules of commercial success. It dealt with serious issues such as persecution, poverty, and the struggle to hold on to one's beliefs in the midst of a hostile and chaotic environment. Criticized at first for its "limited appeal", Fiddler on the Roof struck such a universal chord in audiences that it became, for a time, the longest running production in the history of Broadway.

Set in 1905, Fiddler on the Roof takes place in Anatevka, a small Jewish village in Russia. The story revolves around the dairyman Tevye and his attempts to preserve his family's traditions in the face of a changing world. When his eldest daughter, Tzeitel, begs him to let her marry a poor tailor rather than the middle-aged butcher that he has already chosen for her, Tevye must choose between his own daughter's happiness and those beloved traditions that keep the outside world at bay. Meanwhile, there are other forces at work in Anatevka, dangerous forces which threaten to destroy the very life he is trying to preserve.



Enhanced by musical numbers that move the story from light-hearted to heart wrenching, Fiddler on the Roof captures the universal struggle to preserve faith, family, and friendship. While these complex themes, some violence connected with the political conflict, and the fantastical depiction of a nightmare may be too much for very young viewers, for the rest of the family this film's inspiring celebration of the tenacity of the human spirit is sure to appeal to Jew and Gentile alike.

FIDDLER ON THE ROOF (1971)



1972 Academy Awards: 8 Nominations - 3 Wins
WON - Best Cinematography
WON - Best Sound
WON - Best Music, Scoring Adaptation and Original Song Score

NOM - Best Director - Norman Jewison
NOM - Best Actor in a Leading Role - Topol
NOM - Best Actor in a Supporting Role - Leonard Frey
NOM - Best Art Direction-Set Decoration
NOM - Best Picture - Norman Jewison

1972 Golden Globes: 4 Nominations - 2 Wins

WON - Best Motion Picture - Musical/Comedy
WON - Best Motion Picture Actor - Musical/Comedy - Topol

NOM - Best Director - Motion Picture - Norman Jewison
NOM - Best Supporting Actor - Motion Picture Paul Mann

1972 BAFTA: 3 Nominations - 0 Wins
NOM - Best Cinematography
NOM - Best Film Editing
NOM - Best Sound Track

1972 Guild Awards of America
WON - Motion Picture Sound Editors - Best Sound Editing - Dialogue

NOM - American Cinema Editors - Best Edited Feature Film
NOM - Writers Guild of America - Best Comedy Adapted from Another Medium

--

In a year where The French Connection dominated all key Awards, Fiddler on the Roof only won 3 of its 8 nominations...French Connection won 5 awards from 8 nominations.

CABARET (1972)

BOX OFFICE GROSS = $41,326,446



In the year of "The Godfather," "Cabaret" managed to win eight Oscars, including Best Director, Actress and Supporting Actor. Under Bob Fosse's ultrastylized direction, "Cabaret" also dragged the Hollywood musical into the modern era. Liza Minnelli, in her first filmed singing role, is a thrill as the starry-eyed Sally Bowles, an American in 1931 Berlin performing at the tawdry Kit Kat Klub, where the divinely decadent entertainment parallels the rise of Nazism outside. Integrating social satire with smashing production numbers (including "The Money Song" and the showstopping title number), Fosse created a landmark film from a genre most thought dead.

Much more that just a terrific musical, Cabaret delves naturally into the politics surrounding Hitler's rise to power. In Berlin, 1931, Sally Bowles (Liza Minnelli) is the so-called international star of the Kit Kat nightclub. This is something of an exaggeration, though she's probably in a better position than most of the inhabitants of her boarding-house (since they're mostly street-walkers). One day Brian Roberts (Michael York) intrudes upon Sally's world, hoping to take the vacant room opposite hers. A quiet, reserved Englishman, studying at Oxford, Brian is unprepared for the ball of life and energy that is Sally. An American by birth, she lives each day hoping to break into the movies and each night performing at the club.



Through effective application of montage, the stage routines provide a sharp counterpoint to the real-life drama, a commentary on events. Thus the brushes of the Kit Kat club owner with the ever more powerful Nazi's and the financial lure of Maximilian are themes echoed vividly in song and dance. The choreography of these stylish shows is exquisite, complemented by fine camera-work which captures the essence perfectly. Equally impressive is the performance of Minnelli, awesome on the stage and naively convincing off of it. Matching her, the entrancing Master of Ceremonies (Joel Grey) injects humour and pathos, effervescence and solidity into the proceedings.

CABARET (1972)



1973 Academy Awards: 10 Nominations - 8 Wins
WON - Best Director - Bob Fosse
WON - Best Actor in a Supporting Role - Joel Grey
WON - Best Actress in a Leading Role - Liza Minnelli
WON - Best Art Direction-Set Decoration
WON - Best Cinematography
WON - Best Film Editing
WON - Best Music, Scoring Original Song Score and/or Adaptation
WON - Best Sound

NOM - Best Picture
NOM - Best Writing, Screenplay Based on Material from Another Medium

1973 Golden Globes: 9 Nominations - 3 Wins
WON - Best Motion Picture - Musical/Comedy
WON - Best Motion Picture Actress - Musical/Comedy - Liza Minnelli
WON - Best Supporting Actor - Motion Picture - Joel Grey

NOM - Best Director - Motion Picture - Bob Fosse
NOM - Best Original Song - For the song "Mein Herr".
NOM - Best Original Song - For the song "Money, Money".
NOM - Best Screenplay - Jay Presson Allen
NOM - Best Supporting Actress - Motion Picture - Marisa Berenson
NOM - Most Promising Newcomer - Female - Marisa Berenson

1973 BAFTAs: 11 Nominations - 7 Wins
WON - Best Film
WON - Best Direction - Bob Fosse
WON - Best Actress - Liza Minnelli
WON - Best Newcomer - Joel Grey
WON - Best Art Direction
WON - Best Cinematography
WON - Best Sound Track

NOM - Best Supporting Actress
NOM - Best Costume Design
NOM - Best Film Editing
NOM - Best Screenplay

1972 Guild Awards of America
WON - American Cinema Editors
WON - Writers Guild of America - Best Comedy Adapted from Another Medium

NOM - Directors Guild of America - Directors Guild of America

--

Undoubtedly, one of the most competitive years of All-Time - with Godfather going head to head against Cabaret. Although Cabaret came home with the most Wins, it didn't win the main award, Best Picture

Liza Minelli however won for her thrilling performance, edging out Diana Ross, Maggie Smith, Liv Ullman and Cicey Tyson..

Outside of the Oscars, Cabaret also notched up big wins in the Golden Globes and also the BAFTAs.

JESUS CHRIST SUPERSTAR (1973)



The second Biblical epic to be turned into a musical by composer Andrew Lloyd Webber and lyricist Tim Rice, this box-office disappointment recounts the last week in the life of Jesus Christ in rock-opera format and from the surprising point of view of Christ's betrayer, Judas Iscariot. Carl Anderson stars as Judas, who has begun to believe that Jesus (Ted Neeley) has sold out and started buying into the mythology that's quickly springing up around him. Particularly disturbing to Judas is the relationship between Jesus and his friend Mary Magdalene (Yvonne Elliman), a prostitute. When Jesus throws a temper tantrum at the moneylenders in a temple, Judas determines to work with the Pharisees who want to put Jesus on trial as a false prophet. Following his success with the adaptation of Fiddler on the Roof (1971), director Norman Jewison experimented with a hippie-influenced sensibility on Jesus Christ Superstar (1973). Among such touches are depictions of the cast arriving via bus to mount the show, modern high-tech weaponry in the hands of the ancient Romans, and on-location filming in Israel



An innovative example of modern techniques in moviemaking, this famous rock opera depicts the last week of Christ's life. Norman Jewison (MOONSTRUCK; IN THE HEAT OF THE NIGHT) directed this thrilling adaptation of Tim Rice and Andrew Lloyd Webber's musical, starring Ted Neeley as Jesus and Carl Anderson as Judas Iscariot. Among the classic songs in the film are "I Don't Know How to Love Him," "Hosanna," and "King Herod's Song (Try It and See)." The song score was nominated for an Academy Award.

JESUS CHRIST SUPERSTAR (1973)



1974 Academy Awards: 1 Nomination - 0 Wins
NOM - Best Music, Scoring Original Song Score and/or Adaptation

1974 Golden Globes: 6 Nominations - 0 Wins

NOM - Best Motion Picture - Musical/Comedy
NOM - Best Motion Picture Actor - Musical/Comedy - Carl Anderson
NOM - Best Motion Picture Actor - Musical/Comedy - Ted Neeley
NOM - Best Motion Picture Actress - Musical/Comedy - Yvonne Elliman
NOM - Most Promising Newcomer - Male - Carl Anderson
NOM - Most Promising Newcomer - Male - Ted Neeley

1974 BAFTAs: 3 Nominations - 1 Win
WON - Best Sound Track

NOM - Best Cinematography
NOM - Best Costume Design

--

Andrew Lloyd's Webber's first movie connection was a real dissapointment at the Awards. It picked up only 1 nomination at the Academy Awards........for Best Music, Scoring Original Song Score and/or Adaptation (ALW) which it lost to The Sting the big winner of the year over The Exorcist and American Grafitti.[/quote]

GREASE (1978)

BOX OFFICE GROSS = $159,978,870 ($188,389,888 Lifetime)



Travolta co-starred with Australian singer Olivia Newton-John in Randal Kleiser's popular, spirited, nostalgic 50s film Grease (1978), a former hit Broadway musical that brought two big hit songs, "Summer Nights" and "You're The One That I Want", to the charts. (The film's only nomination was Best Song for "Hopelessly Devoted to You.") It was about two white-trash lovers who enjoyed a summertime romance but had to adapt to new roles back in their high school cliques, the T-Birds and the Pink Ladies. Its popularity made it one of the highest grossing movie musicals ever.

Where the stage version stressed period spoof, the film stressed the love story involving a leather jacketed grease-headed boy and a squeaky-clean "Sandra Dee"-type girl. Ingratiating performances by John Travolta and Olivia Newton-John and a spirited production charmed audiences, making the film a pop-culture landmark and the highest grossing film musical up to that time.



With all Grease's faults and weaknesses, it's hard not to like it. The songs alone are rousing enough to elicit forgiveness for its shortcomings, and the atmosphere of the fifties, though heavily glamorized by an overzealous memory, is rich. So if you're looking for some musical fun without a lot of excess baggage like plot, Grease is the perfect place to turn.