Review: "The Day After Tomorrow" is Still Relevant and Entertaining (Happy B'day, Dennis Quaid)

TRASH IN MY EYE No. 83 (of 2004) by Leroy Douresseaux

The Day After Tomorrow (2004)
Running time: 124 minutes (2 hours, 4 minutes)
MPAA – PG-13 for intense situations of peril
DIRECTOR: Roland Emmerich
WRITERS: Jeffrey Nachmanoff and Roland Emmerich; from a story by Roland Emmerich
PRODUCERS: Roland Emmerich and Mark Gordon
CINEMATOGRAPHER: Ueli Steiger (D.o.P.)
EDITOR: David Brenner
COMPOSERS: Harald Kloser and Thomas Wanker
BAFTA winner

ACTION/ADVENTURE/DRAMA/FANTASY/SCI-FI/THRILLER


Starring: Dennis Quaid, Jake Gyllenhaal, Emmy Rossum, Dash Mihok, Jay O. Sanders, Sela Ward, Austin Nichols, Arjay Smith, Tamlyn Tomita, Ian Holm, Kenneth Welsh, and Perry King

The subject of this movie review is The Day After Tomorrow, the 2004 science fiction and environmental disaster film from director Roland Emmerich (Independence Day). Released by 20th Century Fox, the film is an ensemble drama about people trying to survive a new ice age brought upon by abrupt global warming. The character that is the main focus is a climatologist who is determined to save his son who is trapped in a frozen New York City.

A crack paleoclimatologist, Professor Jack Hall (Dennis Quaid), discovers that the Ice Age is coming back with a vengeance in director Roland  Emmerich’s hip retro cool disaster film, The Day After Tomorrow. Mixing such controversial concepts as the green house effect, global warming, and modern super SFX, the film is truly the movie as roller coaster ride.

After this new Ice Age hits the northern hemisphere with almost unimaginable fury, especially New York City, Hall begins a dangerous track across the frozen face of the northeastern U.S. to reach his son Sam (Jake Gyllenhaal), who is trapped in NYC with a group of fellow students. Meanwhile, the freak weather is tearing half the planet apart.

Although many critics and detractors will cry over the film’s allegedly implausible concept, the important question is always, “Is it good.” Hell, yeah, it’s good. It’s a big, old giant tub of popcorn movie fun. The Day After Tomorrow is also a finely constructed drama and thriller with that just right touch of melodrama that stays one notch below over the top, which is just enough to pull at the old heartstrings. It’s exciting. It’s thrilling. It’s a damn good time at the movies.

Roland Emmerich reaffirms what his film Independence Day hinted – he’s a great movie director. Emmerich does the same thing Martin Scorcese and Steven Spielberg do with a “serious” drama – make the ordinary extraordinary. When it comes to a fun film, The Day After Tomorrow is a keeper.

8 of 10
A

NOTES:
2005 BAFTA Awards: 1 win: “Best Achievement in Special Visual Effects” (Karen E. Goulekas, Neil Corbould, Greg Strause, and Remo Balcells)

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Happy Birthday, Liz

Unlike Anna, I won't tell your age.  Happy B'day and I wish you many more.

Review: Crazy White Women Put the Bloom in "White Oleander" (Happy B'day, Robin Wright)

TRASH IN MY EYE No. 132 (of 2003) by Leroy Douresseaux

White Oleander (2002)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – PG-13 for mature thematic elements concerning dysfunctional relationships, drug content, language, sexuality and violence
DIRECTOR: Peter Kosminsky
WRITER: Mary Alice Donoghue (from the novel by Janet Fitch)
PRODUCERS: Hunt Lowry and John Wells
CINEMATOGRAPHER: Elliot Davis (D.o.P.)
EDITOR: Chris Ridsdale
COMPOSER: Thomas Newman

DRAMA

Starring: Alison Lohman, Robin Wright Penn, Michelle Pfeiffer, Renee Zellweger, Amy Aquino, Patrick Fugit, Cole Hauser, Noah Wylie, Marc Donato, Billy Connolly, and Dallas McKinney

The subject of this movie review is White Oleander, a 2002 American drama film. It based upon the 1999 novel of the same name from author Janet Fitch, a novel which also has the distinction of being picked for Oprah’s Book Club in 1999.

In White Oleander, Michelle Pfeiffer is Ingrid Magnussen, a woman sentenced to prison when she murders her lover in a crime of passion. Her imprisonment sends her daughter Astrid (Alison Lohman) on a journey through the foster care system where she undergoes intense experiences of love, loss, and near death. She, however, never loses touch with her mother, maintaining contact through letters and Astrid’s brief visits to the prison. As the years past, Astrid begins to resent her mother’s insistence that she live her life as her mother wishes, and their relationship becomes a war between a controlling mother and a teenage girl determined to find her own way.

I could describe the film White Oleander (the name of a beautiful, but deadly poisonous plant) as beautiful, but I would have to add on the descriptive term, “hauntingly.” If you like chick movies, especially sad chick movies, White Oleander is one of the best I’ve seen in ages. It is unrelentingly sad, and that has put off some viewers, but the performances are monster and deserve to be seen. Ms. Pfieffer can play the shrinking violet as well as anyone (see Dangerous Liaisons), but her talents are quite sharp when she extends her razor-like claws of her talent into bad girl/misunderstood woman roles (The Fabulous Baker Boys or her voice work in the animated Sinbad: Legend of the Seven Seas). Young Alison Lohman shows an ability to channel pain that recalls the early work of the first lady of tragic heroines, Meryl Streep. Ms. Lohman dominates this movie, and she saves this from being a dreadful movie of the week. Director Peter Kosminsky (an award-winning television movie director) smartly lets her shine.

White Oleander is quite engaging and enthralling, unusual for a movie of such palatable sadness, but it’s rewarding. It’s a feel good movie about surviving the really rough patches in life. I fault an incoherent script for running from one sad scene to another as if the writer was trying to make a grocery list of the bad things that can happen in life. The film never really slows down to take the time and show us the process of Astrid growing up and growing independent. Still, this has to be one of the prettiest sad movies in a long time. It’s like a beautiful car wreck and if you’re not careful, you might find yourself in love with all this pain.

7 of 10
B+

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Review: "Master and Commander" Was One of 2003's Best Films (Happy B'day, Russell Crowe)

TRASH IN MY EYE No. 82 (of 2004) by Leroy Douresseaux

Master and Commander: The Far Side of the World (2003)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – PG-13 for intense battle sequences, related images, and brief language
DIRECTOR: Peter Weir
WRITERS: John Collee and Peter Weir (from the novels by Patrick O’Brian)
PRODUCERS: Samuel Goldwyn Jr., Duncan Henderson, and Peter Weir
CINEMATOGRAPHER: Russell Boyd
EDITOR: Lee Smith
COMPOSERS: Iva Davies, Christopher Gordon, and Richard Tognetti
Academy Award winner

WAR/ADVENTURE/DRAMA/ACTION/THRILLER

Starring: Russell Crowe, Paul Bettany, James D’Arcy, Edward Woodall, Chris Larkin, Max Pirkis, Jack Randall, Max Benitz, Lee Ingleby, Richard Pates, Robert Pugh, and Richard McCabe

The subject of this movie review is Master and Commander: The Far Side of the World, a 2003 historical war drama. Much of the film’s plot comes from the 1984 novel, The Far Side of the World.

One of the best films of 2003 is Australian director Peter Weir’s film, Master and Commander: The Far Side of the World. It was also one of the most honored films of the year, earning many award nominations and capturing quite a few critical prizes, including wins of two Oscars (for Russell Boyd’s cinematography and Richard King’s sound editing). It’s on my very short list of best pictures of the year, and it’s one of the best films of the last half-decade.

Based upon an outline in the tenth book of Patrick O’Brian’s series of 20 novels about Lucky Jack Aubrey (Russell Crowe), the British Royal Navy’s greatest fighting captain, and his ship’s doctor, Stephen Maturin (Paul Bettany), Master and Commander is set during the Napoleonic Wars. The brash Lucky Jack pushes the crew of his ship, the Surprise, in pursuit of a formidable French frigate, the Acheron. The Acheron launches a sneak attack on the Surprise near Brazil. Although his ship is heavily damaged, Lucky Jack, the “Master” of the Surprise and the “Commander” of his men, chases the Acheron around South America, all leading to a daring showdown near the Galapagos Islands.

As an expensive film production by three of the biggest film studios in the world (Fox, Miramax, and Universal), Master and Commander is blessed with a big production budget that guaranteed that the film would look brilliant and the technical aspects of the film would be quite good. But what makes this film is that the basics are topnotch. First, the story is a rousing sea adventure, something that is sure to please the male audience – there’s something to the lure of the sea. When a sea adventure movie is done well, we have a memorable film on our hands.

Secondly, the Peter Weir, one of the great directors of the last three or so decades (and one of the most underrated and under-appreciated in proportion to his talent and work) simply makes this a grand movie: a brilliant tale of fighting men, camaraderie, brotherhood, and old-fashioned adventure that is the superb and perfect vicarious experience for those of us that have never had to run from a cannonball or live through the hardships of naval life during wartime.

Last, but not least, is a collection of excellent performances. It goes without saying that Russell Crowe was good. Can he ever be bad? In the tradition of old Hollywood stars, Crowe allows his film personality to shine through every performance. There’s a basic template that we recognize no matter how disparate the roles he takes. Still, he’s the great method actor who can also bury himself in a part.

However, I must also give shout outs to Paul Bettany as the ship surgeon, Dr. Maturin. He well plays Maturin as both confidant and foil to Crowe’s’ Aubrey. A child talent to watch is Max Pirkis, as the young Lord Blakeney, Midshipman. I think Pirkis’ character is the one the audience lives through, as we, like him, are novices. Pirkis’ performance is open and invites us in to suffer the hardships, enjoy the good times, and learn from his experiences. His performance is so good and plays such an important part in the film’s success that it can be considered a gift.

I heartily endorse Master and Commander: The Far Side of the World. Not only is it good drama, it’s also an adventure film likely to stand the test of time, and if it doesn’t, it’s still damn fine for the here and now.

10 of 10

NOTES:
2004 Academy Awards: 2 wins: “Best Cinematography” (Russell Boyd) and “Best Sound Editing” (Richard King); 8 nominations: “Best Picture” (Samuel Goldwyn Jr., Peter Weir, and Duncan Henderson), “Best Director” (Peter Weir), “Best Art Direction-Set Decoration” (William Sandell-art director and Robert Gould-set decorator), “Best Costume Design” (Wendy Stites), “Best Film Editing” (Lee Smith), “Best Makeup” (Edouard F. Henriques and Yolanda Toussieng), “Best Sound Mixing” (Paul Massey, Doug Hemphill, and Art Rochester), and “Best Visual Effects” (Daniel Sudick, Stefen Fangmeier, Nathan McGuinness, and Robert Stromberg)

2004 BAFTA Awards: 4 wins: “Best Costume Design” (Wendy Stites), “Best Production Design” (William Sandell), “Best Sound” (Richard King, Doug Hemphill, Paul Massey, and Art Rochester), and “David Lean Award for Direction” (Peter Weir); 4 nominations: “Best Achievement in Special Visual Effects” (Stefen Fangmeier, Nathan McGuinness, Robert Stromberg, Daniel Sudick), and “Best Cinematography” (Russell Boyd), “Best Film” (Samuel Goldwyn Jr., Peter Weir, and Duncan Henderson), “Best Performance by an Actor in a Supporting Role” (Paul Bettany)

2004 Golden Globes: 3 nominations: “Best Director - Motion Picture” (Peter Weir), “Best Motion Picture – Drama,” and “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe)

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Flashy "Immortals" Mortally Flawed

TRASH IN MY EYE No. 27 (of 2012) by Leroy Douresseaux


Immortals (2011)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for sequences of strong bloody violence, and a scene of sexuality
DIRECTOR: Tarsem Singh Dhandwar
WRITERS: Charles Parlapanides and Vlas Parlapanides
PRODUCERS: Mark Canton, Ryan Kavanaugh, and Gianni Nunnari
CINEMATOGRAPHER: Brendan Galvin (D.o.P.)
EDITORS: Wyatt Jones, Stuart Levy, and David Rosenbloom
COMPOSER: Trevor Morris

FANTASY/DRAMA/WAR

Starring: Henry Cavill, Mickey Rourke, Stephen Dorff, Freida Pinto, Luke Evans, John Hurt, Joseph Morgan, Alan Van Sprang, Isabel Lucas, and Kellan Lutz

The subject of this movie review is Immortals, a 2011 3D fantasy film (which I saw in traditional D). The film, which is loosely based on various Greek myths, follows the quest of a man seeking vengeance against the ruthless king who killed his mother.

In the year 1228 B.C., Hyperion (Mickey Rourke), the mortal Heraklion king, seeks the Epirus Bow, a weapon of immense power that can be used to slay immortals and gods. Hyperion will use the bow to free the enemies of the gods, the Titans, so that they can destroy Zeus (Luke Evans) and the other gods. His search for the bow takes Hyperion and his army to the village of Koplos.

During their rampage through the village, Hyperion kills the mother of Theseus (Henry Cavill), a highly skilled warrior. Theseus is shunned by his fellow villagers because he was born a bastard child, but the gods favor him. During his mission of vengeance, Theseus meets Phaedra (Freida Pinto), an Oracle priestess. Phaedra’s visions tell her that Theseus will play an integral part in Hyperion’s quest to free the Titans, but whose side Theseus will choose remains a mystery.

Director Tarsem Singh likely first made a big impression on pop culture because he directed the music video for the R.E.M. song, “Losing My Religion,” which won “Best Video of the Year” at the 1991 MTV Video Music Awards. I found the video to be as pretentious and as ridiculous as the song (although I like R.E.M.). He next gained attention for directing the Jennifer Lopez movie, the visually striking, but pretentious and dumb, The Cell.

Immortals is less pretentious and less dumb than the R.E.M. music video and The Cell, but still pretentious. Immortals is certainly visually striking; there were moments during the film when certain costumes, sets, and backdrops gave me pause and made me press the rewind button on the remote. Sadly, the movie seems like little more than a fairy tale that someone could tell in less than half an hour stretched past the breaking point in order to become a nearly two-hour long movie.

Immortals can be described as 300 and Troy retrofitted with elements of Lord of the Rings. So there are epic battles, clashes of supernatural beings, and big pre-battle speeches, but there is not much of a narrative.

I must say that Mickey Rourke gives a stellar performance as the brutal King Hyperion, but Rourke’s performance fashions a character that is better than the movie in which he plays the central villain. Henry Cavill’s performance is a mixed bag. Sometimes, Theseus is rousing; other times, the character doesn’t come across as the kind of great hero that an epic action fantasy film needs. Hopefully, Cavill does better next year when he debuts as the lead in the Superman film franchise reboot, The Man of Steel.

Immortals is not bad, but it isn’t particularly good. It is a movie with potential and lots of good elements that don’t quite come together. Thus, Immortals will likely be relegated to that great pile of mediocre movies that exists between the really good and highly entertaining stuff and the stand-out bad stuff.

5 of 10
C+

Thursday, April 05, 2012

Brian Grazer and Craig Brewer Guide Katy Perry Doc to Big Screen

“KATY PERRY: PART OF ME” FROM PRODUCERS KATY PERRY, DIRECT MANAGEMENT, IMAGINE ENTERTAINMENT, AEG AND EMI WILL BE RELEASED ON JULY 5, 2012

THE 3D FEATURE FILM FROM PARAMOUNT INSURGE WILL REVEAL KATY’S LIFE ON-AND OFF-STAGE

Academy Award®-Winner Brian Grazer of Imagine Entertainment Will Produce the Film, Along With Katy and Her Team at Direct Management Group

Boarding the Project as an Executive Producer is “Hustle & Flow” Director Craig Brewer

Paramount’s Insurge Pictures today announced they have partnered with Katy Perry, Direct Management, Imagine Entertainment, AEG and co-financing partner EMI on a 3D feature film starring Katy. To be released on July 5, 2012, KATY PERRY: PART OF ME will be a first-ever big-screen look at the international superstar’s life both on- and off-stage.

Said Katy, "I am so excited to paint the silver screen in 3D color with help from our friends at Paramount and Imagine. For the last year and a half, I have intimately documented my life both on and off the stage of The California Dreams Tour. I want to take you behind the cotton candy clouds and reveal the highs and lows and nuts of bolts of this extraordinary ride. I promise you, after seeing this film, you will truly know me."

President of Paramount Film Group, Adam Goodman, said, “Katy’s one-of-a-kind story, and our unique ability at Insurge to create equally unique movie going experiences, was a natural fit. We’re beyond excited to offer her fans, who inspired this movie, and moviegoers everywhere, this once-in-a-lifetime look into her world and capture a moment in time.”

"This has been a milestone year for Katy. She is emblematic of the culturally forward thinking artists that we endeavor to highlight at Insurge, so when the opportunity came about to work with her on this film, Adam and I immediately jumped at the chance," said Amy Powell, President, Paramount Insurge.

Katy began documenting her California Dreams Tour, consisting of 124 performances, over a year ago. Her management team, Direct Management, soon after brought AEG into the project to film the artist's two shows at Staples Center in LA in 3D. A partnership with Imagine Entertainment followed.

Directed by the Magical Elves team of Jane Lipsitz and Dan Cutforth (JUSTIN BIEBER: NEVER SAY NEVER), KATY PERRY: PART OF ME is produced by Katy, along with Martin Kirkup, Bradford Cobb, and Steven Jensen of Direct Management; and Academy Award®-winner Brian Grazer (8 MILE, A BEAUTIFUL MIND) of Imagine Entertainment. The film’s executive producers include Craig Brewer (FOOTLOOSE, HUSTLE & FLOW), Randy Phillips of AEG, Erica Huggins and Michael Rosenberg of Imagine Entertainment; and Ed Lovelace and James Hall of Pulse Films. Lukasz “Dr. Luke” Gottwald and Max Martin, who co-wrote the title song with Perry, will serve as co-producers, along with Nanette Bernstein (AMERICAN TEEN), Thomas Benski and Dan Bowen of Pulse Films, Anna Culp of Imagine Entertainment, and Archie Gips of Magical Elves.

Katy's new single, "Part Of Me" debuted in the #1 spot on Billboard's Hot 100 on February 22nd, making it the first in a year, and only the 20th in 53 years, to debut at #1. Since the 2008 release of “One of the Boys,” Perry has topped the charts in more than 25 countries and has sold more than 50 million digital tracks and mobile products, as well as 10 million albums worldwide. Her hits include “I Kissed a Girl,” “Hot N Cold,” “Thinking Of You,” “Waking Up in Vegas,” as well as "California Gurls," "Teenage Dream," "Firework," "E.T.," "Last Friday Night," and "The One That Got Away," all from the "Teenage Dream" album. A special edition of Katy’s double platinum album “Teenage Dream: The Complete Confection," was released on March 26th.

An EMI artist, Katy is represented by managers Bradford Cobb, Martin Kirkup, Steven Jensen and Ngoc Hoang of Direct Management Group, Inc.

For more information, go to KatyPerryPartOfMe.com or follow Katy Perry on Twitter at www.Twitter.com/KatyPerry. #KP3D


About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Famous Productions, Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

Review: "All About Eve" is an Eternal Film Classic (Happy B'day, Bette Davis)

TRASH IN MY EYE No. 41 (of 2003) by Leroy Douresseaux

All About Eve (1950) – Black & White
Running time: 138 minutes (2 hour, 18 minutes)
DIRECTOR: Joseph L. Mankiewicz
WRITER: Joseph L. Mankiewicz (based upon the short story, “The Wisdom of Eve” by Mary Orr)
PRODUCER: Daryl F. Zanuck
CINEMATOGRAPHER: Milton R. Krasner
EDITOR: Barbara McLean
Academy Award winner

DRAMA

Starring: Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Gary Merrill, Hugh Marlowe, Gregory Ratoff, Barbara Bates, Marilyn Monroe, and Thelma Ritter

The subject of this movie review is the 1950 American drama, All About Eve. This Oscar-winning “Best Picture” was produced by Daryl F. Zanuck and was based upon Mary Orr’s 1946 short story, “The Wisdom of Eve.”

Considered the great “backstage” movie of all time, Joseph L. Mankiewicz’s All About Eve was recently released in one of those shiny DVD retrospective packages, deservedly so. Filled with an all star cast that is more than up to the challenge of turning on the thespian heat, the film is as mesmerizing, catty, and blunt as it probably was over half a century ago.

Eve Harrington (Anne Baxter), an aspiring actress, insinuates herself into a circle of theatre friends, the most famous of them being the established but aging stage actress Margo Channing (Bette Davis). Eve wants so badly to be an actress that she will manipulate, grovel, connive, lie, cheat, and do whatever it takes to make it as a star of the theatre, including hiding her real name and creating a fictitious past. Before long she is Margo’s unofficial assistant and soon fashions a close relationship with Margo’s best friend, Karen Richard (Celeste Holm), but she has her eyes of Karen’s husband Lloyd (Hugh Marlowe), a popular and critically respected playwright. Margo, in a sense, is Lloyd’s muse, and she has starred in most of Lloyd’s plays; however, Margo is fortyish and beyond the age of some of Lloyd’s youthful fictional female leads. Here is where Eve believes she can step in and capture the essence of a Lloyd character, and with the help of Addison DeWitt (George Sanders), a theatre critic (and the film’s dominant narrator), she makes it to the top of the theatrical world over the bodies of her friends.

All About Eve is a study of where ambition can get you, but it is also an examination of how cut throat a person feels she has to be to get to the top. Ms. Baxter languishes in the early part of her character as the tepid friend who just wants to serve Margo, but the actress bears her fangs and claws when Eve finally gets the proverbial foot in the door. It’s a radical and shocking transformation.

What can I add about the incomparable Bette Davis? Believe me, she shines like a nova, and she chews up her part. Margo is a force of nature and a supernatural force, throwing her weight around the story. The movie is ostensibly about Eve; she is the catalyst for the proceedings, but much of the film deals with Margo’s travails. Ms. Davis’s performance is the work of an actress dominating the screen in the chosen style of the time. Movie lovers, films buffs, and critics – none of them should ever miss this on the strength of Ms. Davis’s performance alone.

It’s a bonus to get star performances by Sanders (who won an Academy Award for his supporting role as DeWitt), drool and witty by turns and slightly menacing and all knowing most of the time. Hugh Marlowe hams it up as the playwright Lloyd Richards, but it’s the only way he can keep up with Ms. Davis.

As the film approaches the end, it really delves into the process of how stars of the stage are born, but it really lays bare the potential for ugliness in a dog eat dog world. By the end of the film, you can’t help but watch Eve’s ascendancy and realize that you have been watching what could be a story similar to Margo’s as a young, struggling actress. All About Eve is about Eve becoming Margo as the latter’s career winds to the end and the former becomes the new star of Broadway and theatre. And as another ingénue walks into the picture as the story closes, we realize that the stage is a vicious circle. Eve is about to experience what she did to Eve and her friends.

There’s only one Margo, and there’s usually only place for one at the top. In the world of performance, one has to climb over everyone else who is also trying to reach the pinnacle. After you’ve reached the top, you can sulk over the bitter feelings and ruthless process. You can wish things hadn’t been so nasty, but at least you get to sulk from the top of the heap.

9 of 10
A+

NOTES:
1951 Academy Awards: 6 wins: “Best Director” (Joseph L. Mankiewicz), “Best Picture” (20th Century Fox), “Best Actor in a Supporting Role” (George Sanders), “Best Costume Design, Black-and-White” (Edith Head and Charles Le Maire), “Best Sound, Recording” ((20th Century-Fox Sound Dept.), and “Best Writing, Screenplay” (Joseph L. Mankiewicz); 8 nominations: “Best Actress in a Leading Role” (Anne Baxter), “Best Actress in a Leading Role” (Bette Davis), “Best Actress in a Supporting Role” (Celeste Holm), “Best Actress in a Supporting Role” (Thelma Ritter), “Best Art Direction-Set Decoration, Black-and-White” (Lyle R. Wheeler, George W. Davis, Thomas Little, and Walter M. Scott), “Best Cinematography, Black-and-White” (Milton R. Krasner), “Best Film Editing” (Barbara McLean), “Best Music, Scoring of a Dramatic or Comedy Picture” (Alfred Newman)

1951 BAFTA Awards: 1 win: “Best Film from any Source” (USA)

1951 Golden Globes: 1 win: “Best Screenplay” (Joseph L. Mankiewicz); 5 nominations: “Best Motion Picture – Drama,” “Best Motion Picture Actress – Drama” (Bette Davis), “Best Motion Picture Director” (Joseph L. Mankiewicz), “Best Supporting Actor” (George Sanders), and “Best Supporting Actress” (Thelma Ritter)

1990 National Film Preservation Board: National Film Registry

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