In 1960, a rather weak year, “Sons and Lovers” competed for the Best Picture Oscar with Billy Wilder's “The Apartment,” which won, John Wayne's “The Alamo,” Richard Brooks' “Elmer Gantry,” and Fred Zinnemann's “The Sundowners.”

In 1960, a rather weak year, “Elmer Gantry” competed for the Best Picture Oscar with Billy Wilder's “The Apartment,” which won, John Wayne's “The Alamo,” the British drama “Sons and Lovers,” and Fred Zinnemann's “The Sundowners.” Director Richard Brooks was overlooked by his peers at the Directors Branch; he would be nominated in 1966 for “The Professionals.”

Joel and Ethan Coen's “No Country for Old Men” is not only their best picture to date, but also an instant classic and, as of November, one of the year's very best films. The Coens have been around for over twenty years, but their latest work is their most mature and resonant work, surpassing in achievements their other good films, the splashy debut “Blood Simple,” “Barton Fink,” and everyone's favorite “Fargo.”

In 1948, Stanwyck competed for the Best Actress Oscar with Jane Wyman, who won for playing a deaf-mute girl in the melodrama “Johnny Belinda,” Ingrid Bergman in “Joan of Arc,” Olivia de Havilland in “The Snake Pit,” and Irene Dunne in “I Remember Mama.”