Art Carney and Francis Ford Coppola at the Academy Awards 1975
'Godfather, Function Ii' Wins 7 Oscars
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April ix, 1975
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LOS ANGELES, April 8—"The Godfather, Part 11," the sequel to the Oscar‐winning Mafia film of two years agone, "The Godfather," continued the family unit tradition tonight by sweeping seven top honors at the 47th annual Academy Awards presentations.
The film, which connected the underworld saga of the Vito Corleone family unit, was named best moving-picture show and won the directing laurels for Francis Ford Coppola, the bearded wunderkind of Hollywood who in a few brusk years has become one of the few dominant figures in the film industry. It was the first time in the history of the awards that a sequel to a major motion picture won the side by side picture honor.
Carney and Miss Burstyn
Best acting awards went to Fine art Carney for his porttrayal of an aging widower in a transcontinental search in "Harry and Tonto," and to Ellen Burstyn for her role in "Alice Doesn't Live Here Anymore," a film that is seen every bit part of a trend toward greater realism in the Hollywood depiction of women.
In keeping with the trend for using the Oscar ceremony as a political platform, the winners of the all-time accomplishment in documentary production, Peter Davis and Bert Schneider for the moving picture "Hearts and Minds," a controversial report on the Vietnam war, read "greetings of friendship" from a Northward Vietnamese Communist leader to the star‐studded audience and 65 meg tv viewers.
The local outlet for the National Broadcasting Company, which carried the national telecast, was "swamped with, outraged calls" from hundreds of local viewers who strongly objected to the utilize of the airwaves "for Communist propaganda," an NBC spokesman reported.
Before the finish of the telecast, Frank Sinatra one of the hosts read a statement that sought to disassociate the Academy of Motion Movie Arts and Sciences from the views of Mr. Davis and Mr. Schneider. "We are non responsible for whatsoever political statements fabricated on this program and it does not reflect the mental attitude of the academy," said the statement, which academy officials said had been dictated by Bob Hope, another host.
Mr. Hope and Mr. Sinatra. had been closely associated with support of the policies of onetime President Nixon, and, their argument evoked a mixed sprinkling of mild applause and catcalls from the audience at the Dorothy Chandler Pavilion of the Los Angeles Music Center. The brief expressions made past Mr. Davis and Mr. Schneider while they were accepting the honor earlier the tv cameras had been politely applauded.
Surprise on 'Chinatown'
Aside from the political fireworks, the Oscar show produced a number of surprises in the usually anticipated awards. Most notable was the paucity of honors for "Chinatown," unsentimental study of power and corruption in the nineteen‐thirties, which had been considered a frontrunner in several major categories. It captured the honor for all-time original screenplay for Robert Towne, but zip else, another disappointment for Jack Nicholson, who played the hardbitten detective, J. J. Gettis, in the film. It was the actor'due south‐ third nomination for best actor without a victory.
Robert De Niro, who portrayed the heart-searching immature Mafia chieftain Vito Corleone in The Goodfather, Part II," won the University Award for all-time supporting histrion.
It was the aforementioned underworld graphic symbol role for which Marlon Brando won the laurels for best acting 2 years ago in "The Godfather." an award that Mr. Brando refused to accept personally in a protest over the handling of American Indians.
Ingrid Bergman won the Oscar every bit the all-time supporting actress of 1974 for her piece of work as 1 of the suspects in "Murder On the Orient. Express." Miss Bergman won the best extra awards in 1944 for "Gaslight" and in 1956 for "Anastasia." She joins Helen Hayes equally the just actress to have won Oscars in both the best actress and best supporting actress categories.
"The Godfather" film, the sequel to the annals of a crime dynasty written by Mr. Coppola and Mario Puzo, won the Oscar for the hest script adapted from other material.
"Amarcord," the Italian comedy‐drama that evoked a year in the life of an Italian town in the nineteen‐thirties, was named the all-time foreignlanguage film. The import previously won the New York Film Critics prize equally the year's best movie.
Hollywood's élite gathered for the ceremonies under threatening, rainy skies, the product of an unseasonal cold spell. Stars, starlets, producers and other film industry royalty stood gathered in the Dorothy Chandler Pavilian before show fourth dimension.
Four Special Awards
In add-on to the competitive awards, the academy gave four special awards during the evening.
Jean Renoir, the veteran French manager, was honored for his achievements over the years; the film "Earthquake" received a visual furnishings award; the director Howard Hawks received an honorary award for his outstanding work, and Arthur B. Krim, chairman of United Artist, was given the Jean Hersholt Humanitarian Award for his charitable work.
Other awards follow:
Documentary feature: "Hearts and Minds," Touchstone‐Audjeff‐Bbs Prods. Howard Zucker/ Henry Jaglom‐Rainbow Pictures presentation. Peter Davis and Bert Schneider, producers.
Documentary brusque subject: "Don't," R. A. Films, Robin Lehman, producer.
Curt subjects—live: "OneEyed Men Are Kings, CAPAC Prods. (Paris). Produced by Paul Claudon and Edmond Sechan.
Short subjects — animated: "Airtight Mondays," Lighthouse Prods, Will Vinton and Bob Gardiner, producers.
Song: "We May Never Love Like This Once more" from "The Towering Inferno." Music and lyrics past Al Kasha and Joel Hirshhorn.
Sound: "Earthquake," by Ronald Pierce and Melvin Metcalfe Sr.
Original dramatic score: "The Godfather, Part Two," by Nino Rota and Ruby Coppola.
Film editing: "The Towering Inferno," Harold F. Kress, Carl Kress. 20th Century‐ Fox and Warner Bros.
Cinematography: "The Towering ‐Inferno," Fred Koenekamp, Joseph Biroc. 20th Century‐Fox and Warner Bros.
Costume: "The Great Gatsby," Theoni V. Aldredge. Paramount.
Scoring: "The Great Gatsby," Nelson Riddle.
Art direction and set ornament: "The Godfather, Part II," a Coppola‐Paramount product; Dean Tavoularis and Angelo Graham, art management; George R. Nelson, set direction.
Source: https://www.nytimes.com/1975/04/09/archives/godfather-part-ii-wins-7-oscars.html
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