Kon Ichikawa was a Japanese film director. Ichikawa was born in Mie Prefecture as Giichi Ichikawa, his father died when he was four years old, the family kimono shop went bankrupt, so he went to live with his sister. He was given the name "Kon" by an uncle who thought the characters in the kanji 崑 signified good luck, because the two halves of the Chinese character look the same when it is split in half vertically; as a child he loved his ambition was to become an artist. He loved films and was a fan of "chambara" or samurai films. In his teens he was fascinated by Walt Disney's "Silly Symphonies" and decided to become an animator, he attended a technical school in Osaka. Upon graduation, in 1933, he found a job with a local rental film studio, J. O Studio, in their animation department. Decades he told the American writer on Japanese film Donald Richie, "I'm still a cartoonist and I think that the greatest influence on my films is Disney."He moved to the feature film department as an assistant director when the company closed its animation department, working under such luminaries as Yutaka Abe and Nobuo Aoyagi.
In the early 1940s J. O Studio merged with P. C. L. and Toho Film Distribution to form the Toho Film Company. Ichikawa moved to Tokyo, his first film was a puppet play short, A Girl at Dojo Temple, confiscated by the interim U. S. Occupation authorities under the pretext that it was too "feudal", though some sources suggest the script had not been approved by the occupying authorities. Thought lost for many years, it is now archived at the Cinémathèque Française, it was at Toho. Wada was a translator for Toho, they agreed to marry sometime. Natto Wada's original name was Yumiko Mogi, she graduated with a degree in English Literature from Tokyo Woman's Christian University. She married Kon Ichikawa on April 10, 1948, died on February 18, 1983 of breast cancer, it was after Ichikawa's marriage to Wada that the two began collaborating, first on Design of a Human Being and Endless Passion in 1949. The period 1950–1965 is referred to as Ichikawa's Natto Wada period. It's the period that contains the majority of Ichikawa's most respected works, such as Tokyo Olympiad, for which he was awarded the Olympic Diploma of Merit, it is during this period that Wada wrote 34 screenplays, most of which were adaptations.
He gained Western recognition during the 1950s and 1960s with two anti-war films, The Burmese Harp and Fires on the Plain, the technically formidable period-piece An Actor's Revenge about a kabuki actor. Among his many literary adaptations were Jun'ichirō Tanizaki's The Key, Natsume Sōseki's The Heart and I Am a Cat, in which a teacher's cat critiques the foibles of the humans surrounding him, Yukio Mishima's Conflagration, in which a priest burns down his temple to save it from spiritual pollution. After Tokyo Olympiad Wada retired from screenwriting, it marked a significant change in Ichikawa's films from that point onward. Concerning her retirement, he said "She doesn't like the new film grammar, the method of presentation of the material. In 2006, Ichikawa was the subject of a feature-length documentary, The Kon Ichikawa Story, directed by Shunji Iwai. Ichikawa died of pneumonia on February 2008 in a Tokyo hospital, he was 92 years old. The Magic Hour was dedicated to his memory. In this film, a movie director played by Ichikawa is shooting Kuroi Hyaku-ichi-nin no Onna, a parody of Ten Dark Women.
Ichikawa's films are marked with a certain darkness and bleakness, punctuated with sparks of humanity. It can be said that his main trait is technical expertise, detachment and a drive for realism married with a complete spectrum of genres; some critics class him with Akira Kurosawa, Kenji Mizoguchi and Yasujirō Ozu as one of the masters of Japanese cinema. Kon Ichikawa on IMDb Senses of Cinema: Great Directors Critical Database Strictly Film School: Kon Ichikawa Kon Ichikawa at the Japanese Movie Database
Harakiri (1962 film)
Harakiri is a 1962 Japanese jidaigeki film directed by Masaki Kobayashi. The story takes place between 1619 and 1630 during the Edo period and the rule of the Tokugawa shogunate, it tells the story of a warrior without a lord. At the time, it was common for masterless samurai, or rōnin, to request to commit seppuku in the palace courtyard in the hope of receiving alms from the remaining feudal lords. Edo, 1630. Tsugumo Hanshirō arrives at the estate of the Ii clan and says that he wishes to commit seppuku within the courtyard of the palace. To deter him Saitō Kageyu, the Daimyō's senior counselor, tells Hanshirō the story of another rōnin, Chijiiwa Motome – of the same clan as Hanshirō. Saito scornfully recalls the practice of ronin requesting the chance to commit seppuku on the clan's land, hoping to be turned away and given alms. Motome arrived at the palace a few months earlier and made the same request as Hanshirō. Infuriated by the rising number of "suicide bluffs", the three most senior samurai of the clan—Yazaki Hayato, Kawabe Umenosuke, Omodaka Hikokuro—persuaded Saitō to force Motome to follow through and kill himself.
Upon examining Motome's swords, their blades were found to be made of bamboo. Enraged that any samurai would "pawn his soul", the House of Ii forced Motome to disembowel himself with his own bamboo blade, making his death slow, agonizingly painful, humiliating. Despite this warning, Hanshirō insists that he has never heard of Motome and says that he has no intention of leaving the Ii palace alive. After a suicide pavilion is set up in the courtyard of the palace, Hanshirō is asked to name the samurai who shall behead him when the ritual is complete. To the shock of Saitō and the Ii retainers, Hanshirō successively names Hayato and Hikokuro—the three samurai who coerced the suicide of Motome; when messengers are dispatched to summon them, all three decline to come, saying they are suffering from a life-threatening illness. After provoking their laughter by calling bushido a facade, Hanshirō recounts his story to Saitō and the Ii retainers, he did, know Motome after all. In 1619, his clan was abolished by the Shōgun.
His Lord decided to commit seppuku and, as his most senior samurai, Hanshirō planned to die alongside him. To prevent this, Hanshirō's closest friend performed seppuku and left a letter assigning to Hanshirō the guardianship of his teenage son—Motome. Despite Hanshirō's pleas, his Lord forbade him to kill himself. In order to support Motome and his own daughter Miho, Hanshirō rented a hovel in the slums of Edo and was reduced to making paper umbrellas to make ends meet. Despite this, he retained a firm sense of familial honor. Realizing the love between Motome and Miho, Hanshirō arranged. Soon after, they had Kingo; when Miho fell ill with a fever, Motome could not bear the thought of losing her and did everything to raise money to hire a doctor. When Kingo fell ill, Hanshirō was enraged when Motome claimed to have sold everything of value. Motome, calmly explained that there was another way to raise money and that he would return soon. For hours, Hanshirō and Miho anxiously awaited his return. Late that evening, Hayato and Hikokuro, had brought Motome's mutilated body home.
They had been forced to kill himself. They displayed his bamboo blades in order to mock their victim before his family. After they left, Miho spent hours weeping inconsolably over her husband's body, she returned to her sickbed next to Kingo. Having had no idea that Motome had sold his sword blades to save Miho, a devastated Hanshirō implored his son-in-law's forgiveness for his own carelessness. Soon after, Kingo died from his illness. Having lost the will to live, Miho followed after him the next day. Completing his story, Hanshirō explains that his sole desire is to join Motome and Kingo in the next world, he explains, that they have every right to ask whether justice has been exacted for their deaths. Therefore, Hanshiro asks Saito if he has any statement of regret to convey to Motome and Kingo, he explains. Saitō, insists that Motome was "a despicable extortioner" who got what he deserved, he boasts that all other suicide bluffs who come to the Ii palace shall be treated in the same fashion. Hanshirō reveals the last part of his story.
Before coming to the Ii house, he had tracked down Hayato and Umenosuke defeated them, cut off their topknots. Hikokuro came to Hanshirō's hovel and, with great respect, challenged him to a duel. After a brief but tense sword fight, Hikokuro suffers a double disgrace: his sword is broken and his topknot was taken as well; as proof of his story, Hanshiro removes their labelled topknots from his kimono and casts them upon the palace courtyard. With deep contempt, Hanshiro reminds everyone that, for a samurai to lose his topknot is a disgrace so horrendous that suicide can atone for it, and yet, the most revered samurai of the House of Ii —Hayato and Hikokuro— lack the fortitude to commit the suicide they would demand from anyone else. Instead, they are concealing their dishonor, feigning illness, waiting for their hair to grow back. Hanshiro concludes that, despite the Ii clan's pride in its martial history, it seems that the Code of the Samurai is a facade for them. Having now lost face badly, an enraged Saitō calls Hanshiro a madman and orders his remaining samurai to kill him.
In a battle which rages through the palace, Hanshirō kills four samurai, wounds eight, contemptuously throws down the antique su
1965 Cannes Film Festival
The 18th Cannes Film Festival was held from 3 to 16 May 1965. Olivia de Havilland became the first woman president of the jury; the Grand Prix du Festival International du Film went to The Knack …and How to Get It by Richard Lester. The festival opened with The Collector, directed by William Wyler and closed with Tōkyō Orinpikku, directed by Kon Ichikawa; the following people were appointed as the Jury of the 1965 film competition:Feature films Olivia de Havilland Jury President André Maurois Honorary President Goffredo Lombardo Vice President Max Aub Michel Aubriant Rex Harrison François Reichenbach Alain Robbe-Grillet Konstantin Simonov Edmond Ténoudji Jerzy Toeplitz Short films Gérardot President Istvan Dosai Herman van der Horst Jacques Ledoux Carlos Vilardebó The following feature films competed for the Grand Prix International du Festival: The following films were selected to be screened out of competition: The following short films competed for the Short Film Palme d'Or: The following feature films were screened for the 4th International Critics' Week: The following films and people received the 1965 Official selection awards: Grand Prix du Festival International du film: The Knack …and How to Get It by Richard Lester Prix spécial du Jury: Kwaidan by Masaki Kobayashi Best Director: Liviu Ciulei for Forest of the Hanged Best Screenplay: Pierre Schoendoerffer for The 317th Platoon Ray Rigby for The Hill Best Actress: Samantha Eggar for The Collector Best Actor: Terence Stamp for The Collector Special Mention for actors:Jozef Kroner and Ida Kaminska for their acting performances in Obchod na korze Vera Kuznetsova for her acting performance in Zhili-byli starik so starukhojShort films Short Film Palme d'Or: Overture by János Vadász Prix du Jury: Johann Sebastian Bach: Fantasy in G minor by Jan Švankmajer Prix spécial du Jury: Monsieur Plateau by Jean Brismée Short film Technical Prize: Ban ye ji jiao by Yeou Lei & Overture by János Vadász FIPRESCI FIPRESCI Prize: Always Further On by Luis AlcorizaCommission Supérieure Technique Technical Grand Prize: Circus Angel by Albert Lamorisse Az Életbe táncoltatott leány by Tamás Banovich Special Mention: The Knack …and How to Get It by Richard LesterOCIC Award OCIC Award: Yo Yo by Pierre ÉtaixBest Film for the Youth Los Junqueros by Oscar Kantor Yo Yo by Pierre Étaix 1965 Cannes Film Festival Official website Retrospective 1965 Cannes Film Festival Awards for 1965 at Internet Movie Database
Samurai Rebellion is a 1967 Japanese film directed by Masaki Kobayashi. The film is based on Hairyozuma shimatsu by Yasuhiko Takiguchi, its original Japanese title is (Jōi-uchi: Hairyō tsuma shimatsu. Donald Richie suggests an approximate translation, "Rebellion: Receive the Wife". In the Edo period of Japan, in the year 1725, Isaburo Sasahara is a vassal of the daimyō of the Aizu clan, Masakata Matsudaira. Isaburo is one of the most skilled swordsmen in the land, whose principal rival is his good friend Tatewaki Asano. Isaburo is in a loveless marriage with a shrew of a woman. One day, one of the daimyo's advisors orders Isaburo's elder son Yogoro to marry the daimyo's ex-concubine, Ichi though she is the mother to one of the daimyo's sons. With much trepidation, the family agrees. In time and Yogoro find love and happiness in the marriage and a daughter, Tomi, is born. However, the daimyo's primary heir dies, he orders his ex-concubine to rejoin his household to care for their son and heir; the family refuses, but Ichi is tricked into the castle by Isaburo's younger son, her husband and father-in-law are ordered to commit seppuku for their insolence and insubordination.
Isaburo counters that he will comply only if the heads of the daimyo and his two primary advisors are brought to him first. Isaburo dismisses his household servants. With his elder son, he prepares for battle, removing the tatami from his house to prevent slipping in the blood that will be spilled and removing the house's walls to allow for more space for combat; the daimyo's steward, accompanied by a platoon of 20 samurai, brings Ichi to the Sasahara house and tries to force her at spear point to renounce her marriage to Yogoro and join the daimyo's household. The daimyo "graciously" offers to commute Isaburo and Yogoro's sentences to life confinement in a shrine outside his castle. Not only does Ichi refuse to join his household, she throws herself onto a spear instead of abandoning her husband, her husband is killed with her in his arms. His father, kills the steward's entire party, killing the steward last as he attempts to flee. Burying the dead couple, Isaburo now decides to take his case to the Shogun in Edo regardless of the consequences to his clan, accompanied by Tomi.
Tatewaki, guarding the gate, cannot permit Isaburo to pass, a climactic duel follows with his good friend. Isaburo assassins hidden nearby cut Isaburo down with musket fire. In his dying breath, he laments that no one will know the love story of Yogoro and Ichi, which had inspired him, an otherwise obedient vassal, to rise against his clan and lord, he beseeches Tomi to be a good and kind woman like her mother, to seek out a fine and kind husband like her father. As Isaburo dies, we see Tomi's wet-nurse comforting the baby: she has been secretly following him. Toshiro Mifune as Isaburo Sasahara Yoko Tsukasa as Ichi Sasahara Go Kato as Yogoro Sasahara Tatsuya Nakadai as Tatewaki Asano Shigeru Koyama as Geki Takahashi Masao Mishima as Sanzaemon Yanase Isao Yamagata as Shobei Tsuchiya Tatsuyoshi Ehara as Bunzo Sasahara Etsuko Ichihara as Kiku Tatsuo Matsumura as Masakata Matsudaira Takamaru Sasaki as Kenmotsu Sasahara Jun Hamamura as Hyoemon Shiomi The music, by Tōru Takemitsu, is performed exclusively on traditional Japanese instruments, including shakuhachi and taiko.
Samurai Rebellion received a roadshow release in Japan on 27 May 1967 where it was distributed by Toho. The film received a wide theatrical release in Japan on 3 June 1967; the film was released by Toho International with English-subtitles and a 120-minute running time in December 1967. It has been released to home video under the title of Samurai Rebellion. Samurai Rebellion received awards in Japan, including Kinema Junpo awarding it Best Film, Best Director, Best Screenplay. Mainichi Film Concours awarded it as Best Film of the year. Along with China is Near, it won the FIPRESCI Prize at the Venice Film Festival. Samurai Rebellion on IMDb Samurai Rebellion at Rotten Tomatoes Samurai Rebellion at AllMovie "上意討ち 拝領妻始末". Japanese Movie Database. Retrieved 2007-07-17
Biblioteca Nacional de España
The Biblioteca Nacional de España is a major public library, the largest in Spain, one of the largest in the world. It is located on the Paseo de Recoletos; the library was founded by King Philip V in 1712 as the Palace Public Library. The Royal Letters Patent that he granted, the predecessor of the current legal deposit requirement, made it mandatory for printers to submit a copy of every book printed in Spain to the library. In 1836, the library's status as Crown property was revoked and ownership was transferred to the Ministry of Governance. At the same time, it was renamed the Biblioteca Nacional. During the 19th century, confiscations and donations enabled the Biblioteca Nacional to acquire the majority of the antique and valuable books that it holds. In 1892 the building was used to host the Historical American Exposition. On March 16, 1896, the Biblioteca Nacional opened to the public in the same building in which it is housed and included a vast Reading Room on the main floor designed to hold 320 readers.
In 1931 the Reading Room was reorganised, providing it with a major collection of reference works, the General Reading Room was created to cater for students and general readers. During the Spanish Civil War close to 500,000 volumes were collected by the Confiscation Committee and stored in the Biblioteca Nacional to safeguard works of art and books held until in religious establishments and private houses. During the 20th century numerous modifications were made to the building to adapt its rooms and repositories to its expanding collections, to the growing volume of material received following the modification to the Legal Deposit requirement in 1958, to the numerous works purchased by the library. Among this building work, some of the most noteworthy changes were the alterations made in 1955 to triple the capacity of the library's repositories, those started in 1986 and completed in 2000, which led to the creation of the new building in Alcalá de Henares and complete remodelling of the building on Paseo de Recoletos, Madrid.
In 1986, when Spain's main bibliographic institutions - the National Newspaper Library, the Spanish Bibliographic Institute and the Centre for Documentary and Bibliographic Treasures - were incorporated into the Biblioteca Nacional, the library was established as the State Repository of Spain's Cultural Memory, making all of Spain's bibliographic output on any media available to the Spanish Library System and national and international researchers and cultural and educational institutions. In 1990 it was made an Autonomous Entity attached to the Ministry of Culture; the Madrid premises are shared with the National Archaeological Museum. The Biblioteca Nacional is Spain's highest library institution and is head of the Spanish Library System; as the country's national library, it is the centre responsible for identifying, preserving and disseminating information about Spain's documentary heritage, it aspires to be an essential point of reference for research into Spanish culture. In accordance with its Articles of Association, passed by Royal Decree 1581/1991 of October 31, 1991, its principal functions are to: Compile and conserve bibliographic archives produced in any language of the Spanish state, or any other language, for the purposes of research and information.
Promote research through the study and reproduction of its bibliographic archive. Disseminate information on Spain's bibliographic output based on the entries received through the legal deposit requirement; the library's collection consists of more than 26,000,000 items, including 15,000,000 books and other printed materials, 4,500,000 graphic materials, 600,000 sound recordings, 510,000 music scores, more than 500,000 microforms, 500,000 maps, 143,000 newspapers and serials, 90,000 audiovisuals, 90,000 electronic documents, 30,000 manuscripts. The current director of the Biblioteca Nacional is Ana Santos Aramburo, appointed in 2013. Former directors include her predecessors Glòria Pérez-Salmerón and Milagros del Corral as well as historian Juan Pablo Fusi and author Rosa Regàs. Given its role as the legal deposit for the whole of Spain, since 1991 it has kept most of the overflowing collection at a secondary site in Alcalá de Henares, near Madrid; the Biblioteca Nacional provides access to its collections through the following library services: Guidance and general information on the institution and other libraries.
Bibliographic information about its collection and those held by other libraries or library systems. Access to its automated catalogue, which contains close to 3,000,000 bibliographic records encompassing all of its collections. Archive consultation in the library's reading rooms. Interlibrary loans. Archive reproduction. Biblioteca Digital Hispánica, digital library launched in 2008 by the Biblioteca Nacional de España List of libraries in Spain Media related to Biblioteca Nacional de España at Wikimedia Commons Official site Official web catalog
Akira Kurosawa was a Japanese film director and screenwriter, who directed 30 films in a career spanning 57 years. He is regarded as one of the most influential filmmakers in the history of cinema. Kurosawa entered the Japanese film industry following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata. After the war, the critically acclaimed Drunken Angel, in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan; the two men would go on to collaborate on another 15 films. Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival; the commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers.
Kurosawa directed one film per year throughout the 1950s and early 1960s, including a number of regarded films, such as Ikiru, Seven Samurai and Yojimbo. After the 1960s he became much less prolific. In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century, his career has been honored by many retrospectives, critical studies and biographies in both print and video, by releases in many consumer media formats. Kurosawa was born on March 1910, in Ōimachi in the Ōmori district of Tokyo, his father Isamu, a member of a samurai family from Akita Prefecture, worked as the director of the Army's Physical Education Institute's lower secondary school, while his mother Shima came from a merchant's family living in Osaka. Akira was the eighth and youngest child of the moderately wealthy family, with two of his siblings grown up at the time of his birth and one deceased, leaving Kurosawa to grow up with three sisters and a brother.
In addition to promoting physical exercise, Isamu Kurosawa was open to Western traditions and considered theater and motion pictures to have educational merit. He encouraged his children to watch films. An important formative influence was his elementary school teacher Mr Tachikawa, whose progressive educational practices ignited in his young pupil first a love of drawing and an interest in education in general. During this time, the boy studied calligraphy and Kendo swordsmanship. Another major childhood influence was Akira's older brother by four years. In the aftermath of the Great Kantō earthquake of 1923, which devastated Tokyo, Heigo took the 13-year-old Akira to view the devastation; when the younger brother wanted to look away from the human corpses and animal carcasses scattered everywhere, Heigo forbade him to do so, instead encouraging Akira to face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's artistic career, as the director was hesitant to confront unpleasant truths in his work.
Heigo was academically gifted, but soon after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family, preferring to concentrate on his interest in foreign literature. In the late 1920s, Heigo became a benshi for Tokyo theaters showing foreign films, made a name for himself. Akira, who at this point planned to become a painter, moved in with him, the two brothers became inseparable. With Heigo's guidance, Akira devoured not only films but theater and circus performances, while exhibiting his paintings and working for the left-wing Proletarian Artists' League. However, he was never able to make a living with his art, and, as he began to perceive most of the proletarian movement as "putting unfulfilled political ideals directly onto the canvas", he lost his enthusiasm for painting. With the increasing production of talking pictures in the early 1930s, film narrators like Heigo began to lose work, Akira moved back in with his parents. In July 1933, Heigo committed suicide.
Kurosawa has commented on the lasting sense of loss he felt at his brother's death and the chapter of his autobiography that describes it—written nearly half a century after the event—is titled, "A Story I Don't Want to Tell". Only four months Kurosawa's eldest brother died, leaving Akira, at age 23, the only one of the Kurosawa brothers still living, together with his three surviving sisters. In 1935, the new film studio Photo Chemical Laboratories, known as P. C. L. Advertised for assistant directors. Although he had demonstrated no previous interest in film as a profession, Kurosawa submitted the required essay, which asked applicants to discuss the fundamental deficiencies of Japanese films and find ways to overcome them, his half-mocking view was that if the deficiencies were fundamental, there was no way to correct them. Kurosawa's essay earned him a call to take the follow-up exams, director Kajirō Yamamoto, among the examiners, took
1963 Cannes Film Festival
The 16th Cannes Film Festival was held from 9 to 23 May 1963. The Palme d'Or went to the Il Gattopardo by Luchino Visconti; the festival opened with The Birds, directed by Alfred Hitchcock. The following people were appointed as the Jury of the 1963 film competition:Feature films Armand Salacrou Jury President Rouben Mamoulian Vice President Jacqueline Audry Wilfrid Baumgartner François Chavane Jean De Baroncelli Robert Hossein Rostislav Yurenev Kashiko Kawakita Steven Pallos Gian Luigi Rondi Short films Henri Alekan President Robert Alla Karl Schedereit Ahmed Sefrioui Semih Tugrul The following feature films competed for the Palme d'Or: The following films were selected to be screened out of competition: 8½ by Federico Fellini The Birds by Alfred Hitchcock The following short films competed for the Short Film Palme d'Or: The following feature films were selected to be screened for the 2nd International Critics' Week: The following films and people received the 1963 Official selection awards: Palme d'Or: The Leopard by Luchino Visconti Jury Special Prize: The Cassandra Cat by Vojtěch Jasný Harakiri by Masaki Kobayashi Best Screenplay: Dumitru Carabat, Henri Colpi and Yves Jamiaque for Codine Best Actress: Marina Vlady for The Conjugal Bed Best Actor: Richard Harris for This Sporting LifeShort films Short Film Palme d'Or: Le Haricot by Edmond Séchan In wechselndem Gefälle by Alexander J. Seiler Jury Prize - Short Film: Moj Stan by Zvonimir Berković Special Mention - Short Film: Di Domenica by Luigi Bazzoni & You by István Szabó Short Film Technical Prize: Zeilen by Hattum Hoving FIPRESCI FIPRESCI Prize: This Sporting Life by Lindsay Anderson Le Joli Mai by Chris Marker, Pierre Lhomme Commission Supérieure Technique Technical Grand Prize: The Cassandra Cat by Vojtěch Jasný Codine by Henri ColpiOCIC Award The Fiances by Ermanno OlmiOther awards Gary Cooper Award: To Kill a Mockingbird by Robert Mulligan Best Evocation of a World-Shattering Epic: Optimistic Tragedy by Samson Samsonov 1963 Cannes Film Festival Official website Retrospective 1963 Cannes Film Festival:1963 at Internet Movie Database