With politically charged movies like “Vice” and “BlacKkKlansman” expected to be contenders, the 2019 Academy Awards could prove provocative. But it’s unlikely any ceremony will ever inspire more heated division than the Oscars a little over 40 years ago, when the best supporting actress winner, Vanessa Redgrave, was burned in effigy outside the theater, booed by some audience members during her acceptance speech and rebuked by a presenter later in the evening.
“It was startling to watch,” Tom O’Neil, editor and founder of the awards-themed goldderby.com, said in a phone interview. “It was open combat among the Hollywood elite.”
Redgrave had played the title role in “Julia,” about an anti-Nazi operative during World War II and her friendship with the liberal writer Lillian Hellman (Jane Fonda). “It was perfect symmetry,” the film’s producer, Richard Roth, said. “The two most famous left-wing women of the ’70s playing two left-wing women of the ’30s.”
While she was shooting the movie in Paris, Redgrave lived with a couple of Palestinian students who inspired her to produce and narrate a documentary called “The Palestinian.” It was perceived by some as promoting Yasir Arafat’s Palestine Liberation Organization.
On tour to promote “Julia,” Redgrave screened the documentary for potential distributors, and the Jewish Defense League objected, threatening to boycott 20th Century Fox, the studio behind “Julia,” unless it denounced Redgrave and promised never to hire her again.
“Any Jewish person who goes to see that picture ought to have his head examined,” the Jewish newspaper The Herald wrote of “Julia.” “You might just as well see Hitler’s girlfriend.”
After Redgrave earned one of the film’s 11 Oscar nominations in 1978 (the others included best picture; best director, for Fred Zinnemann; and best actress, for Fonda), the academy president, Howard W. Koch, “urged me not to say anything except ‘Thank you’ if I won,” she wrote in her 1991 autobiography. “I told Howard I must reserve the right to say whatever I thought was right and necessary.”
Despite her fervent opposition to the Vietnam War, Fonda had opted for brevity when she won best actress for “Klute” in 1972: “There’s a great deal to say and I’m not going to say it tonight. I would just like to really thank you very much.”
As Redgrave arrived at the ceremony, Jewish Defense League members torched her likeness and counterprotesters waved the Palestinian flag. Overseeing it all were police sharpshooters on the roof of the Dorothy Chandler Pavilion, where the ceremony was being held.
Supporting actress was the first award of the evening, and Redgrave — who had previously been nominated for “Morgan!” “Isadora” and “Mary, Queen of Scots” — beat first-timers Quinn Cummings (“The Goodbye Girl”), Leslie Browne (“The Turning Point”), Melinda Dillon (“Close Encounters of the Third Kind”) and Tuesday Weld (“Looking for Mr. Goodbar”).
Redgrave’s speech started off innocuously enough, thanking academy colleagues and adding, “I think that Jane Fonda and I have done the best work of our lives, and I think this was in part due to our director, Fred Zinnemann.” But applause mixed with hooting when she said: “You should be very proud that in the last few weeks you have stood firm and you have refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world, and to their great and heroic record of struggle against fascism and oppression.”
Redgrave maintained in her autobiography that “when I referred to the ‘Zionist hoodlums,’ I meant, of course, the Jewish Defense League.” (Redgrave declined to be interviewed for this article.)
Not everyone in the theater interpreted the term so narrowly. As Zinnemann wrote in his 1992 autobiography, “In 30 seconds the temperature dropped to ice while she, smiling happily, descended the steps, gave me a big kiss and sat down.”
Later in the show, the screenwriter Paddy Chayefsky, who had won an Oscar for “Network” the previous year, took the stage to present the screenplay awards. But first he said, “I would like to suggest to Miss Redgrave that her winning an Academy Award is not a pivotal moment in history, does not require a proclamation and a simple ‘Thank you’ would’ve sufficed.”
Chayefsky, an ardent supporter of Israel, received an ovation. “Sometimes the Oscars turns into a political free-for-all,” Pete Hammond, an awards columnist and film critic for deadline.com, said in a phone interview. “And Chayefsky was not the kind of person who would shy away from giving his opinion.”
He presented best adapted screenplay to Alvin Sargent for “Julia,” and Sargent praised the real-life Julia. “I like to think that this Oscar represents those things” Julia stood for, Sargent said in his acceptance speech, “and the free expression of all our good thoughts and feelings and love, no matter who we are or what we have to say.”
(The identity of Julia had spurred a separate controversy when the author Mary McCarthy, who had long feuded with Hellman, accused her rival of appropriating another woman’s story. McCarthy said, “Every word she writes is a lie, including ‘and’ and ‘the.’” Hellman sued McCarthy for libel but died before the case could be resolved.)
Chayefsky later said Redgrave “tried to speak to me afterward, and I cut her dead.”
He wasn’t the only one. “I felt sorry for Vanessa,” Koch, the academy president, said. “At the party afterward, she was sitting all alone with just her two bodyguards. No one else would sit with her, and here it was her big night.”
Redgrave’s reputation wasn’t damaged irreparably. She has continued to work steadily (her latest film, “The Aspern Papers,” was set to open on Jan. 11) and earned Oscar nominations for “The Bostonians” (1984) and “Howards End” (1992).
“Her career survived because of her stature in the industry, and people ultimately realized she was being pro-Palestinian and not anti-Israeli,” O’Neil said. “But her speech just came across so badly — it’s a cautionary tale of the dangers of the Oscars.”
Those perils became all too real two months after the Oscars when a Los Angeles theater scheduled to show “The Palestinian” was bombed. No one was injured, and a member of the Jewish Defense League was convicted in the case.
Decades later, Redgrave had no regrets about her stance. “You do what you feel is right,” she told The Telegraph in 2012. “People get it or they don’t.”B:
香港官方资料网黄金一诗二码中【排】【名】【战】【加】【快】【了】【速】【度】，【本】【来】【预】【计】【三】【天】【的】【时】【间】【决】【出】【最】【后】【的】【名】【次】，【在】【张】【灵】【的】【干】【涉】【下】，【一】【天】【半】【就】【结】【束】【了】。 【看】【着】【面】【前】【广】【场】【上】【这】【累】【的】【跟】【狗】【一】【样】【的】31【人】，【张】【灵】【心】【里】【很】【满】【意】【的】【点】【点】【头】。 【实】【战】【不】【可】【避】【免】【会】【有】【牺】【牲】，【但】【是】【仅】【仅】【只】【牺】【牲】【了】5【个】【人】，【还】【是】【在】【张】【灵】【意】【料】【之】【外】【的】，【这】【说】【明】【他】【们】【的】【实】【力】【确】【实】【不】【错】。 “【你】【们】【很】【不】【错】，【有】【资】【格】【成】
【要】【说】【被】【人】【给】【拒】【绝】【了】，【那】【是】【很】【正】【常】【的】【事】【情】，【但】【是】【在】【这】【个】【时】【候】，【这】【一】【件】【事】【情】【也】【是】【带】【来】【一】【些】【麻】【烦】。 【凌】【天】【的】【神】【情】【都】【是】【有】【一】【些】【难】【看】【说】【道】：“【你】【知】【道】【你】【在】【说】【什】【么】【事】【情】【吗】？【我】【和】【你】【说】，【现】【在】【这】【个】【时】【候】，【我】【也】【是】【不】【批】【准】【你】【的】【辞】【职】，【这】【一】【件】【事】【情】【你】【也】【是】【不】【要】【说】【了】。” 【安】【小】【离】【笑】【了】【笑】【不】【说】【什】【么】【样】【的】【事】【情】，【她】【是】【直】【接】【拿】【出】【一】【份】【东】【西】，【然】【后】
【余】【梦】【煊】【将】【自】【己】【的】【手】【掌】【心】【平】【摊】【开】，【指】【着】【弯】【曲】【的】【感】【情】【线】【让】【雷】【君】【浩】【看】。 “【你】【看】，【这】【弯】【弯】【曲】【曲】【的】【线】，【我】【妈】【说】【过】，【我】【的】【情】【路】【多】【波】【折】，【必】【经】【多】【劫】【后】【才】【能】【成】【立】【一】【个】【安】【稳】【的】【家】。” “【梦】！” 【雷】【君】【浩】【知】【道】【余】【梦】【煊】【是】【在】【安】【慰】【着】【自】【己】，【她】【越】【是】【这】【样】【不】【责】【怪】【自】【己】，【什】【么】【事】【都】【自】【己】【默】【默】【承】【担】【着】。 “【以】【后】【再】【也】【不】【会】【让】【这】【样】【的】【事】【情】【发】【生】【了】香港官方资料网黄金一诗二码中【楚】【天】【都】【市】【报】11【月】10【日】【讯】（【记】【者】【廖】【仕】【祺】 【通】【讯】【员】 【吴】【晓】【敏】 【黄】【雪】【倩】）【许】【多】【市】【民】【家】【中】【常】【备】【眼】【药】【水】，【眼】【睛】【不】【舒】【服】【的】【时】【候】【滴】【眼】【药】【水】，【看】【电】【视】【时】【间】【久】【了】，【也】【习】【惯】【性】【滴】【一】【滴】。【近】【日】【家】【住】【王】【家】【湾】【的】【李】【婆】【婆】，【看】【电】【视】【时】【觉】【得】【眼】【前】【有】【白】【雾】，【顺】【手】【拿】【起】【放】【在】【桌】【上】【的】“【眼】【药】【水】”，【没】【想】【到】【眼】【睛】【瞬】【间】【疼】【痛】【不】【止】。
【在】【其】【他】【的】【女】【人】【耳】【里】，【就】【是】【在】【嘲】【讽】【她】【们】。 “【妹】【妹】，【你】【怎】【么】【可】【以】【这】【么】【说】【呢】？” 【乔】【叶】【一】【副】【柔】【柔】【弱】【弱】【的】【样】【子】，【似】【乎】【像】【是】【宁】【素】【素】【欺】【负】【了】【所】【有】【人】【一】【样】。 【她】【只】【不】【过】【笑】【笑】，【在】【候】【府】【里】【面】，【那】【些】【女】【人】【还】【不】【是】【一】【样】。 “【妹】【妹】？【我】【记】【得】【我】【娘】【家】【并】【无】【你】【这】【个】【姐】【姐】。” 【宁】【素】【素】【重】【重】【的】【咬】【着】【姐】【姐】【两】【个】【字】。 “【在】【怎】【么】【说】，【我】【也】【是】
“【那】【两】【个】【精】【神】【病】【患】【者】？” “【没】【错】，【他】【们】【两】【个】【不】【怕】【那】【魔】【气】【的】，【试】【试】【看】，【不】【行】【再】【把】【他】【们】【拉】【回】【来】。” 【廖】【礼】【听】【后】，【想】【了】【想】。 “【那】【好】【吧】，【就】【按】【你】【说】【的】【办】，【一】【有】【问】【题】【马】【上】【拉】【回】【来】。” 【同】【意】【这】【个】【提】【议】【也】【是】【因】【为】【廖】【礼】【也】【在】【视】【频】【中】【看】【见】【了】【两】【人】【的】【变】【化】。 【两】【人】【竟】【然】【能】【从】【人】【变】【成】【动】【物】，【还】【能】【变】【回】【来】，【这】【真】【是】【让】【廖】【礼】【有】【些】【吃】【惊】
【苏】【凡】【的】【动】【作】【一】【顿】。 【接】【着】，【苏】【凡】【将】【手】【中】【的】【刀】【叉】【轻】【轻】【放】【在】【了】【桌】【子】【上】。 【看】【到】【这】，【沐】【云】【心】【中】【一】【喜】。 【果】【然】【还】【是】【太】【年】【轻】，【一】【点】【小】【小】【的】【激】【将】【法】，【就】【把】【这】【小】【子】【给】【搞】【定】【了】。 “【苏】【凡】，【你】【冷】【静】【点】。”【陈】【嫣】【然】【回】【过】【头】，【担】【心】【地】【看】【着】【苏】【凡】【道】。 【苏】【凡】【起】【身】，【伸】【手】【将】【陈】【嫣】【然】【拉】【到】【了】【自】【己】【的】【位】【置】，【二】【人】【瞬】【间】【完】【成】【互】【换】。 “【你】【能】【不】
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