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Best Picture
|
America, America, Elia Kazan, producer (Warner
Bros.) |
|
|
Cleopatra, Walter Wanger, producer (Twentieth
Century-Fox) |
|
|
How the West Was Won, Bernard Smith, producer
(MGM) |
|
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Lilies of the Field, Ralph Nelson, producer (United
Artists) |
|
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Tom Jones, Tony Richardson,
producer (United Artists-Lopert Pictures)
|
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Best Actor
|
Albert Finney, Tom Jones
|
|
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Richard Harris, This Sporting Life
|
|
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Rex Harrison, Cleopatra
|
|
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Paul Newman, Hud
|
|
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Sidney Poitier, Lilies of
the Field
|
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Best Actress
|
Leslie Caron, The L-Shaped Room
|
|
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Shirley MacLaine, Irma La Douce
|
|
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Patricia Neal, Hud
|
|
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Rachel Roberts, This Sporting Life
|
|
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Natalie Wood, Love With the Proper Stranger
|
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Actor in a Supporting Role
|
Nick Adams, Twilight of Honor
|
|
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Bobby Darin, Captain Newman, M.D.
|
|
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Melvyn Douglas, Hud
|
|
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Hugh Griffith, Tom Jones
|
|
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John Huston, The Cardinal
|
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Actress in a Supporting Role
|
Diane Cilento, Tom Jones
|
|
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Dame Edith Evans, Tom Jones
|
|
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Joyce Redman, Tom Jones
|
|
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Margaret Rutherford, The
V.I.P.s
|
|
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Lilia Skala, Lilies of the Field
|
|
Directing
|
Federico Fellini, Federico Fellini's 81/2
|
|
|
Elia Kazan, America, America
|
|
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Otto Preminger, The Cardinal
|
|
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Tony Richardson, Tom Jones
|
|
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Martin Ritt, Hud
|
|
Writing
|
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Screenplay Based on Material
From Another Medium
|
Serge Bourguigon and Antoine Tudal, Sundays
and Cybèle
|
|
|
Richard Breen, Phoebe Ephron and Henry Ephron,
Captain Newman, M.D.
|
|
|
John Osborne, Tom
Jones
|
|
|
James Poe, Lilies of the Field
|
|
|
Irving Ravetch and Harriet Frank, Jr., Hud
|
|
Story and Screenplay
Written Directly for the Screen
|
Carlo Bernari, screenplay, The Four Days of
Naples
|
|
|
Pasquale Festa Campanile,
Massimo Franciosa, Vasco Pratolini and Nanni Loy,
story; Pasquale Festa Campanile, Massimo Franciosa,
Nanni Loy and James R. Webb, How the West Was
Won
|
|
|
Federico Fellini, Ennio Flaiano, Tullio Pinelli
and Brunello Rondi, Federico Fellini's 81/2
|
|
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Elia Kazan, America, America
|
|
|
Arnold Schulman, Love With the Proper Stranger
|
|
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Cinematography
|
|
Black-and-White
|
Lucien Ballard, The Caretakers
|
|
|
George Folsey, The Balcony
|
|
|
Ernest Haller, Lilies of the Field
|
|
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James Wong Howe, Hud
|
|
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Milton Krasner, Love With the Proper Stranger
|
|
Color
|
William H. Daniels, Milton Krasner, Charles Lang,
Jr. and Joseph LaShelle, How the West Was Won
|
|
|
Joseph LaShelle, Irma La Douce
|
|
|
Ernest Laszlo, It's a Mad, Mad, Mad, Mad World
|
|
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Leon Shamroy, The Cardinal
|
|
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Leon Shamroy, Cleopatra
|
|
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Art Direction
|
|
Black-and-White
|
Gene Callahan, art direction,
America, America
|
|
|
George W. Davis and Paul Groesse, art direction;
Henry Grace and Hugh Hunt, set decoration, Twilight
of Honor
|
|
|
Piero Gherardi, art direction, Federico Fellini's
81/2
|
|
|
Hal Pereira and Tambi Larsen, art direction; Sam
Comer and Robert Benton, set decoration, Hud
|
|
|
Hal Pereira and Roland Anderson, art direction;
Sam Comer and Grace Gregory, set decoration, Love
With the Proper Stranger
|
|
Color
|
Ralph Brinton, Ted Marshall and Jocelyn Herbert,
art direction; Josie MacAvin, set decoration, Tom
Jones
|
|
|
George W. Davis, William Ferrari and Addison Hehr,
art direction; Henry Grace, Don Greenwood, Jr. and
Jack Mills, set decoration, How the West Was
Won
|
|
|
John DeCuir, Jack Martin
Smith, Hilyard Brown, Herman Blumenthal, Elven Webb,
Maurice Pelling and Boris Juraga, art direction;
Walter M. Scott, Paul S. Fox and Ray Moyer, set
decoration, Cleopatra
|
|
|
Hal Pereira and Roland Anderson, art direction;
Sam Comer and James Payne, set decoration, Come
Blow Your Horn
|
|
|
Lyle Wheeler, art direction; Gene Callahan, set
decoration, The Cardinal
|
|
|
Sound
|
Columbia Studio Sound Dept., Bye Bye Birdie
|
|
|
MGM Studio Sound Dept., How
the West Was Won
|
|
|
Samuel Goldwyn Studio Sound Dept., It's a Mad, Mad,
Mad, Mad World
|
|
|
Twentieth Century-Fox Studio Sound Dept. and Todd-AO
Sound Dept., Cleopatra
|
|
|
Universal City Studio Sound Dept., Captain Newman,
M.D.
|
|
Music
|
|
Song
|
“Call Me Irresponsible,”
Papa's Delicate Condition, James Van Heusen,
music; Sammy Cahn, lyrics
|
|
|
“Charade,” Charade, Henry Mancini, music;
Johnny Mercer, lyrics |
|
|
“It's a Mad, Mad, Mad, Mad World,” It's a Mad,
Mad, Mad, Mad World, Ernest Gold, music; Mack
David, lyrics |
|
|
“More,” Mondo Cane, Riz Ortolani and Nino
Oliviero, music; Norman Newell, lyrics |
|
|
“So Little Time,” 55 Days at Peking, Dimitri
Tiomkin, music; Paul Francis Webster, lyrics |
|
Musical Score, Substantially
Original
|
John Addison, Tom
Jones
|
|
|
Ernest Gold, It's a Mad, Mad, Mad, Mad World
|
|
|
Alfred Newman and Ken Darby, How the West Was
Won
|
|
|
Alex North, Cleopatra
|
|
|
Dimitri Tiomkin, 55 Days at Peking
|
|
Scoring of Music, Adaptation
or Treatment
|
George Bruns, The Sword in the Stone
|
|
|
John Green, Bye Bye Birdie
|
|
|
Maurice Jarre, Sundays and Cybèle
|
|
|
André Previn, Irma
La Douce
|
|
|
Leith Stevens, A New Kind of Love
|
|
|
Film Editing
|
Frederic Knudtson, Robert C. Jones and Gene Fowler,
Jr., It's a Mad, Mad, Mad, Mad World
|
|
|
Harold F. Kress, How the
West Was Won
|
|
|
Louis R. Loeffler, The Cardinal
|
|
|
Dorothy Spencer, Cleopatra
|
|
|
Ferris Webster, The Great Escape
|
|
Costume Design
|
|
Black-and-White
|
Piero Gherardi, Federico
Fellini's 81/2
|
|
|
Edith Head, Love With the Proper Stranger
|
|
|
Edith Head, Wives and Lovers
|
|
|
Bill Thomas, Toys in the Attic
|
|
|
Travilla, The Stripper
|
|
Color
|
Donald Brooks, The Cardinal
|
|
|
Edith Head, A New Kind of Love
|
|
|
Walter Plunkett, How the West Was Won
|
|
|
Irene Sharaff, Vittorio
Nino Novarese and Renie, Cleopatra
|
|
|
Piero Tosi, The Leopard
|
|
|
Special Effects
|
Ub Iwerks, The Birds
|
|
|
Emil Kosa, Jr., Cleopatra
|
|
Sound Effects
|
(Not necessarily given each
year)
|
|
|
Robert L. Bratton, A Gathering of Eagles
|
|
|
Walter G. Elliott, It's
a Mad, Mad, Mad, Mad World
|
|
Short Subjects
|
|
Cartoon
|
Automania 2000 (Halas and Batchelor Production;
Pathé Contemporary Films) |
|
|
The Critic (Pintoff-Crossbow
Productions; Columbia)
|
|
|
The Game (Igra) (Zagreb Film; Rembrandt
Films-Film Representations) |
|
|
My Financial Career (National Film Board
of Canada; Walter Reade-Sterling-Continental Distributing) |
|
|
Pianissimo (Carmen D'Avino Production;
Cinema 16) |
|
Live Action
|
The Concert (James A. King Corp.; George
K. Arthur-Go Pictures) |
|
|
Home-Made Car, BP (North American) Ltd.;
Lester A. Schoenfeld Films) |
|
|
An Occurrence at Owl
Creek Bridge (Films du Centaure-Filmartic; Cappagariff-Janus
Films)
|
|
|
Six-Sided Triangle (Milesian Film Production,
Ltd.; Lion International Films) |
|
|
That's Me (Stuart Productions; Pathé Contemporary
Films) |
|
|
Documentary
|
|
Short Subject
|
Chagall (Auerbach
Film Enterprises, Ltd.-Flag Films; Union Films)
|
|
|
The Five Cities of June (George Stevens,
Jr., producer; U.S. Information Agency) |
|
|
The Spirit of America (Algernon G. Walker,
producer; Spotlight News, Inc.) |
|
|
Thirty Million Letters (Edgar Anstey, producer;
British Transport Films) |
|
|
To Live Again (Wilding, Inc.; St. Barnabas
Hospital, Bronx, N.Y.) |
|
Feature
|
Robert Frost: A Lover's
Quarrel With the World (WGBH Educational Foundation;
Holt, Reinhart and Winston, Inc.)
|
|
|
Le Maillon et la Chaine (The Link and
the Chain) (Paul de Roubaix, producer; Films
Du Centaure-Filmartic) |
|
|
Terminus (Edgar Anstey, producer; British
Transport Films) |
|
|
The Yanks Are Coming (Marshall Flaum, producer;
David L. Wolper Productions) |
|
|
Foreign Language Film
|
Federico Fellini's 81/2,
Italy
|
|
|
Knife in the Water, Poland |
|
|
Los Tarantos, Spain |
|
|
The Red Lanterns, Greece |
|
|
Twin Sisters of Kyoto, Japan |
|
Irving G. Thalberg Memorial
Award
|
Sam Spiegel
|
|
