The Los Angeles Times from Los Angeles, California • 97

WIS ANGLIJ3 TIMI 1 4 FRIDAY. DLITMBIR I Picking the Decade's Best Directors, Performances i 7 By now. most of America's film critics have weighed the 1980s and sorted out the 10 films they considered the decade's best But how about the best director and the best performances? The Times' Sheila Benson. Peter Rainer. Kevin Thomas and Michael Wilmington have submitted their five favorites in the four acting categories and their choices of the five best-directed movies of the decade.

Best Actor Sheila Benson: Robert De Niro Daniel Day-Lewis Left Burt Lancaster Jeremy Irons Robert Duvall Peter Rainer: Albert Finney the Bob Hoskins Robert De Niro Dustin Hoffman Steve Martin of Kevin Thomas: Burt Lancaster Klaus Maria Brandauer Erland Josephson Yves Montand de Florette" "Manon of the Max von Sydow the Michael Wilmington: Robert De Niro Bob Hoskins Robin Williams on the Ger ard Dcpardicu Return of Martin Jack Nicholson Witches of Best Actress Meryl Streep Cry in the Sally Kirkland Jacqueline Bisset the Sandrine Bonnaire Andie MacDowell lies, and Rainer: Vanessa Redgrave Judy Davis Marilia Pera Irene Papas Diane Keaton the Thomas: Glenda Jackson Meryl Streep Sally Kirkland Carmen Maura of Stephane Audran Wilmington: Gena Rowlands Meryl Streep Maggie Smith Lonely Passion of Judith Katharine Hepburn Golden Sabine Azema Sunday in the Best Supporting Actor Benson: Morgan Freeman James Mason Shooting John Lithgow World According to John Heard Dennis Hopper Rainer: Morgan Freeman Jason Robards Melvin and Mickey Rourke Dennis Hopper Ray Liotta Thomas: Sean Penn Times at Ridgemont Morgan Freeman Martin Landau and Martin Landau Alec Guinness Wilmington: Morgan Freeman Dennis Hopper John Heard James Earl Jones Raul Julia Best Supporting Actress Benson: Anjelica Huston a Love Lisa Ei-chhorn Linda Hunt for the Cathy Moriarty Diane Wiest and Her Rainer: Linda Hunt Year of Living Peggy Ashcroft Passage to Coral Browne Anjelica Huston Cher Back to the Five and Dime, Jimmy Dean, Jimmy Thomas: Barbara Hershey and Her Kate Reid Marilia Pera Billie Whitelaw Joan Greenwood Wilmington: Meg Ryan Peggy Ashcroft Passage to Angela Lans-bury ('The Company of Ellen Barkin Anjelica Huston Best Director Benson: Martin Scorsese Woody Allen and Her Philip Kaufman (The Right Stuff); John Huston David Lynch Rainer: Paolo and Vittorio Tavi-ani Night of the Shooting David Lynch Kon Ichikawa Mak-ioka Satyajit Ray and the Fred Schepisi ('The Chant of Jimmic Thomas: Claude Lanzmann Andrei Tarkovsky (The Woody Allen and Spike Lee the Right R.W. Fassbinder Wilmington: Ingmar Bergman and Akira Kurosawa Andrei Tarkovsky Robert Bresson Martin Scorsese IK "Leonard Part VI." a "comedy" made only because creator and star Bill Cosby was important to Coca-Cola, which owned the studio. HOLLYWOOD EDDIE MURPHY RICHARD PRYOR serious issues to address. At the top of list is the inevitable globalization of its resources and outlook. With everything that's imminent the social and cultural waves that will sweep over the world from Eastern Europe and from the Pacific who is going to set Hollywood's agenda? During the '80s, the creative voices were mostly stilled.

The power shifted from studio heads to agents and producers, squeezing all but the most facile writers and directors out and creating an environment where deals were more important than films. Flying in the face of global trends and migration patterns, even those in its own community, Hollywood became more insular than ever. Once a window opening onto the world, it is now more a window opening onto "Saturday Night Live." Despite an occasional "Gandhi" or "The Last Emperor." both of which were made outside the major-studio system, few films with worldly themes were made. The farther American film makers went, the closer to home they got The outer-space adventure "Out-land" was a virtual remake of "High Noon." with the Frontier Ethic in full bloom. The "Star Wars" films were also reset Westerns; the "Star Trek" films were U.S.

TV reunions. "E.T." was "Lassie Come Home." For the moment, the rest of the world still looks upon Hollywood as the capital of invention, but it is an appreciation of style rather than of substance. In some ways, Holly-wod enters the '90s where Detroit entered the 70s: full of self-confidence and commitments to short-term goals and domestic impulses. Soon, we'll learn whether the industry will change its outlook or, like some gas-guzzling, Detroit sedan, get blown off the road. Continued from F12 increase in actual admissions.

In terms of real movie watching, however, the decade saw enormous change. The sales and rentals of videocassette movies, a business that didn't exist barely 10 years ago. surpassed theatrical revenues in the mid-80s. When all the math is in for 1989, the video industry is expected to outgross the theatrical playoff of movies by $11 billion to $5 billion. When you combine the two movie-driven businesses, and take into account the erosion in prime-time network TV viewing, the motion-picture industry appears stronger than at anytime since the late '40s.

One thing that the mammoth video revolution proved was that nobody knows how big the next revolution will be. The long writers strike of 1988 which, in part, was about Hollywood's future confused members of the guild and the public, who had trouble understanding the victories claimed by both sides. Clearly, management and the industry guilds are jockeying for shares in future revenues from ancillary markets. There was certainly no revolution regarding women and minorities in film during the '80s. Amy Heckerling ends the decade on a high note, having scored a $100-million hit with her thinking-baby comedy "Look Who's Talking." But the number of women who directed major-studio movies was fewer than a dozen, and the number of black directors of either sex totaled even less.

Dawn Steel, at Columbia, was the only woman to run a studio; no black did. Entering the last decade of its first century, Hollywood has some ULA 1 1 1 A I wHLvte IlArir wH I pi; hi Ill if III ifrr PARAMOUNT PICTURES PRESENTS IN ASSOCIATION fflH EDDIE MURPHY PRODUCTIONS A FILM By EDDIE Iffly lESSI iffiSiyij ASM1NE GUYand ARSENIO HALL musicby DIREOOHOfPHOTOGRAPi 3E0RGE BOWERS PAULL execumproducerEODIEMURPHY 1 111 m. llm II M-JLM-gl produced by ROBERT D. WACHSandMA wRinENAND DiREaEDByEDDIEMURPHY A PARAMOUNT PICTURE RESTRICTED UM0( RCQUIIKS ftCCOMMUNM PMfIT 01 AOUlt CUM0IM I COntiGHt 1914 IT PARAMOUNT ftctutt! t''i'i i ilWS'i'lir ill I wj if Must au mmi tistmo A MAMOUNt (0UUNICATKS COANT NOW PLAYING WfSTWOOO MANHAIUNKACH Mam6 640-UTS MAMMOaKT CrccxiOdeon HOUVWOOO Man Vogue SUK 4 WON 1145 445 15 4S MMMH1-44S. 1 1545 COtONA EdwMtCoonall (7 14) 279-1 M0 BCONMOO Mova OA-l430 7 JO.

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