The Cincinnati Enquirer from Cincinnati, Ohio • Page 105

F-2 THE CINCINNATI ENQUIRER Sunday. April 2, 1978 Go Ahead Take A Flying Guess For the best art direction and set decoration: )( "Airport '77" "Close Encounters of the Third Kind" "The Spy Who Loved Me" )( "Star Wars" "The Turning Point" For the best documentary feature: "The Children of Theater Street" )( "High Grass Circus" "Homage to Chagall The Colours of Love" )( "Union Maids" "Who Are the Debolts? And Where Did They Get 19 Kids?" For the best documentary short subject: "Agueda Martinez: Our People, Our Country" )( "First Edition" "Gravity Is My Enemy" "Of Time, Tombs and Treasures" "The Shetland Experience" For the best animated short subject: )( Bead Game" )( "The Doonesbury Special" )( the "Sand Castle" For the best live action short subject "The Absent-Minded Waiter" )() "Floating Free" )( )t'T'll Find A Way" "Notes on the Popular Arts" )( Now, where are those bloody envelopes, please? For music, best original song: "Candle on the Water" from "Pete's Dragon" "Nobody Does' It Better" from "The Spy Who Loved Me" "The Slipper and the Rose" title song "Someone's Waiting for You" from "The Rescuers" "You Light Up My Life" title song For music, best original score: John Williams for "Close Encounters of the Third Kind" Georges Deleure for "Julia" Maurice Jarre for "Mohammad-Messenger of God" Marvin Hamllsch for "The Spy Who Loved Me" John Williams for "Star Wars" For music, best song score or adapted score: Jonathan Tunlck for "A Little Night Music" Al Kasha, Joel Hlrschorn and Irwin Kostal for "Pete's Dragon" Richard M. Sherman, Robert M. Sherman and Angela Morley for "The Slipper and the Rose" For the best foreign language film of the year: "Iphigenla" from Greece "Madame Rosa" from France "Operation Thunderbolt" from Israel "A Special Day" from Italy "That Obscure Object of Desire" from Spain For the best costume design: Edith Head and Burton Miller for "Airport '77" Anthea Sylbert for "Julia" Florence Klotz for "A Little Night Music" Irene Sharaff for "The Other Side of Midnight" John Mollo for "Star Wars" For the best cinematography Vllmos Zsigmond for "Close Encounters of the Third Kind" Fred J. Koenekamp for "Islands in the Stream" Douglas Slocombe for "Julia" William A.

Fraker for "Looking for Mr. Goodbar" Robert Surtees for "The Turning Point" For the best film editing: Michael Kahn for "Close Encounters of the Third Kind" Walter Murch and Marcel Durham for "Julia" Walter Hannemann and Angelo Ross for "Smokey and the Bandit" Paul Hursch, Marcia Lucas and Richard Chew for "Star Wars" William Reynolds for "The Turning Point" For the best sound: "Close Encounters of the Third Kind" )( "The Deep" "Sorcerer" )( "Star Wars" )( )o "The Turning Point" For the best visual effects: "Close Encounters of the Third Kind" )( "Star Wars" BY TOM McELFRESH Enquirer Film Critic Anne or Jane or Diane or Shirley or Marsha? Which one will win an Academy Award for the "best performance by an actress in a leading role?" The votes are In and counted; maybe three or four people at Price-Waterhouse (the Academy of Motion Picture Arts and Sciences' accountants) know the answer. We will find out about midnight Monday, toward the end of yet another Oscarcast from glamorous Hollywood. (Monday, 10 p.m., Channel 12) THAT'S ABOUT the only part of this annual hoopla and hallelujah in which the movie industry glorifies itself I still trust; the ballot count is, I believe, accurate and, until the trembly-handed presenters rip open the envelopes, only those three or four tight-lipped accountants know the names scribed within them. The voting on the other hand frequently has little enough to do with the performances (or other contributions) for which the nominees are tapped.

Keep in mind a few salient facts: only members of the Academy, around 4000 of them, vote out the Oscars; only the members of the various Academy branches (acting, directing, cinematography, art direction, etc.) make nominations in their branches actors voting for actors, cameramen for cameramen, etc. It's quite a clubby little affair and terribly inside considering the amount of media coverage it gets. Traditionally, Academy members have voted as much for what they deemed the industry's good and as much for sentiment as for art; John Wayne won for "True Grit;" Bette Davis and Elizabeth Taylor won the wrong years; Julie Andrews won for the wrong picture. Peter Finch won because he died. Academy members are usually fonder of established people than newcomers.

And they are especially fond of films (and the people in them) that perform well at the box office, for whatever reason. Hence, it's more a matter of crystal-gazing that critical evaluation to follow the ebbs and flows of gossip, in-ness and outness, sentiment and big grosses and predict a winner. Anne or Jane or Diane or Shirley or Marsha? Only Price-Waterhouse knows for sure. THE MIRACLE is that this year there is some serious contention in the "best performance by an actress" category. I suspect Anne Bancroft and Shirley MacLaine won't win: they're in the same film; they're both splendid and they'll knock each other off.

I suspect Jane Fonda won't win; for one thing her role in "Julia" is fairly controversial as she is herself. And for another thing, Fonda's already being seen In a certain-to-be-nominated-next-year performance In "Coming Home." Marsha Mason and Diane Keaton are both fairly late arrivals on the scene. My money's on Keaton; she's done more. That's It for my predictions. My track record predicting the Academy vote is lousy.

There follows here-inafter a complete slate of nominees. Before each name there are two boxes. You're invited to use the list to make your own predictions and then to keep score as the telecast unfolds Monday night. (The categories are not in the order DRIVE-IN THEATRE FERGUSON RD. in which awards will be presented.) I've checked off a list of my own that I won't show to my closest friends.

Happy predicting. t5t a For-the best picture of the year: )( "Annie Hall" )( "The Goodbye Girl" "Julia" )( "Star Wars" )( "The Turning Point" For the best performance by an actor in a leading role: Woody Allen in "Annie Hall" Richard Burton in "Equus" Richard Dreyfus in "The Goodbye Girl" Marcello Mastrolannl In "A Special Day" John Travolta in "Saturday Night Fever" For the best performance by an actress in a leading role: Anne Bancroft in "The Turning Point" Jane Fonda in "Julia" Diane Keaton in "Annie Hall" Shirley MacLaine in "The Turning Point" Marsha Mason In "The Goodbye Girl" For the best performance by an actor in a supporting role: Mikhail Baryshnlkov In "The Turning Point" Peter Firth In "Equus" Alec Gulness in "Star Wars" Jason Robards in "Julia" Maximilian Schell in "Julia" For the best performance by an actress in a supporting role: Leslie Browne in "The Turning Point" Qulnn Cummlngs in "The Goodbye Girl" Mellnda Dillon in "Close Encounters of the Third Kind" Vanessa Redgrave in "Julia" Tuesday Weld In "Looking for Mr. Goodbar" For the best achievement in directing: Woody Allen for "Annie Hall" Steven Spielberg for "Close Encounters of the Third Kind" Fred Zlnnemann for "Julia" George Lucas for "Star Wars" Herbert Ross for "The Turning Point" For the best screenplay (adapted from another medium): )( Peter Shaffer for "Equus" Gavin Lambert and Lewis John Carlino for "I Never Promised You a Rose Garden" Alvln Sargent for "Julia" Larry Gelbart for "Oh, God" Luis Bunuel and Jean Claude Caarriere for "That Obscure Object of Desire" For the best screenplay (original): Woody Allen and Marshall Brickman for "Annie Hall" Neil Simon for "The Goodbye Girl" Robert Benton for "The Late Show" George Lucas for "Star Wars" Arthur Laurents for "The Turning Point" special guest (raik the Sky OSCAR, God love him, is getting on in years. But he's still packing the house. Film Satire's A Total Flop BY WILLIAM A.

RAIDY 1978, Newhouse News Service NEW YORK Christopher Du-rang's "A History of the American satire on Hollywood cliches and stereotypes-has had an amazing past. It originated at the 1976 Eugene O'Neill National Playwrights Conference workshop and has had productions at the Hartford (Conn.) Stage Company, the Mark Taper Forum in Los Angeles and Washington D.C.'s Arena Stage. It is now a full-blown Broadway musical with very little to redeem itself. "A History of the American Film," set to Mel Marvin's music, tries to parody a half-century of cinema from the silents of the Gish sisters to the galactic celluloid of today. It is a tiresome, predictable evening.

THE PLAY traces the life of a heroine who begins as an abandoned orphan, progresses to gangster's moll, "Forty-Second Street" chorine, pin-up starlet-and so on. Her love is the Jimmy Cagney type, talking out of the side of his mouth. Along the road to wherever, we drop In at any number of gangster movies, where our American sweetheart gets the predictable grapefruit in the face. Are you surprised? Almost nothing is left out. Paul Henreid draws on two cigarettes, Humphrey Bogart growls at the piano man in Rick's bar and the Andrews Sisters do a boogie woogie turn.

Thank God and MGM, they left out Jeanette and Nelson. And, come to think of it, Don Ameche on the telephone. THE RADIO STATION THE CHARLIE DANIELS BAND with mi "Culture in the Queen City: One Hundred Years Of Music Hail" A series of lectures at the Contemporary Arts Center, 115 E. Fifth St. Produced by WGUC with the cooperation of the May Festival Women's Committee.

Open to the public and broadcast live. Mondays April 3, 10, 17, 24, 1-2 p.m. College-Conservatory Music presents Cincinnati's FERGUSON HIUS 2310 (MDWCB (5) Sun April IG-Opm all seats SE.50 reserved in cooperation with WEBN TICKETS AVAILABLE ALL TirKETBLIN LOCATIONS OPEN EVERY SUNDAY SOON ON SATURDAYS! SELLERS SS 00 pr fMce VISITORS: PER CARLOAD WALK-INS 25' (GROUPS UP TO FOUR-501) i niveiity Earl Rivers.director Joan Walton, choreographer SAT. APRIL 8 Two Performances 7 P.M. and 9:30 P.M.

Corbett Auditorium TICKETS $2 00 Community TicUet Office (241 10381 Center TicUet Office (475-4553) presents II1 Made possible in part by the Ohio Program in the Humanities PROS LAST 2 SHOWS 1:00 PM and 5:30 PM NOW PLAYING AL LEWIS 'Grandpa" on TV's "The Munsters" STARRING IN NEIL NIUM AND DOVER 0 Riverfront CINCINNATI WELCOME COMEDY OF THE RED HOT LOVERS SUNDAY MATINEE Coliseum SIMON'S A lavisti Dunn play all at on fantastic pries! Dry Fork Rotd and Ksnnsth feld ST HIT LAST SPECIAL 2 Dry North in cooperation with WEBN GORDON LIGIITFOOT May 7, MUSIC HALL 2 shows, 7:00 10:30 P.M. All seats reserved, $6.50 $7.50 at Ticlcetron JACKSON BROWNE with special quest Um BONOFF This April 5, 8:00 P.M. University of Dayton Arena Good seats still ovailable for $4.50 $7.50 at Ticketron, the door, or night of show. a i Brwmny TflJI I I ill Ijl 1 1 f5 1 1 1 LYi nwrwnoni -A 1 Produced by Irvin fld ui suts resewp 14.80 S5.50 $6.50 price kciuois TICKETS MOW ON SALE AT THE RIVERFRONT COLISEUM BOX OFFICE TOR TICKET INFORMATION CALL (513) 241-1818 SPECI AL CONCERTS Apr. 16 GLENN MlLLErTORCH.

Apr. 24 BARBARA McNAIR May 1 5 STAN KENTON May 22 GORDON McCRAE July 3 1 AMAZING KRESKIN Fork Road Eiit off 1-74 West Vi Mile Reservations 367-4 1 24 APRIL 26, 7:30 P.M. C0IIVEIITI0II CENTER, DAYTON, OHIO Tickets $6.00, Advance $7.00, Day of Show Tickets Avoilable Ticketron and Flaming Pit Restaurant in cooperation with Jam Productions..