In this post I'm continuing the process of comparing my own Oscar picks from among the nominees with the real winners. As before, the opinions expressed in this post are strictly those of the author and are not intended to be taken as objective judgments.
1950
BEST PICTURE
The Winner: All About Eve
My Pick: All About Eve
BEST DIRECTOR
The Winner: Joseph L. Mankiewicz, All About Eve
My Pick: Carol Reed, The Third Man
BEST ACTOR
The Winner: Jose Ferrer, Cyrano de Bergerac
My Pick: William Holden, Sunset Blvd.
BEST ACTRESS
The Winner: Judy Holliday, Born Yesterday
My Pick: Bette Davis, All About Eve
BEST SUPPORTING ACTOR
The Winner: George Sanders, All About Eve
My Pick: George Sanders, All About Eve
BEST SUPPORTING ACTRESS
The Winner: Josephine Hull, Harvey
My Pick: Thelma Ritter, All About Eve
Another historical year for the number of high-quality pictures released. Best picture was a close call between All About Eve and Sunset Blvd. A tie would have been justified, but I went with Eve by a nose. For best director I chose Carol Reed for The Third Man (not nominated for best picture), the movie that the British Film Institute named the best British film of the 20th century. I divided the acting awards between Eve and Sunset Blvd. Davis's incredible failure to win best actress for her Margo Channing is probably down to the fact that costar Anne Baxter was also nominated, thus splitting the vote. Draining more votes away from Davis was Gloria Swanson in her comeback performance as the demented has-been Norma Desmond. Another factor at play was that at the time nobody had won three times for best lead performance, and perhaps the Academy voters were reluctant to break that precedent for Davis, who had recently left Warner Bros. after a string of flops. As for Holden, nothing in his ten-year-long career had suggested he was capable of this level of acting, and perhaps Academy voters were simply caught off-guard. Maybe they were too mesmerized by Swanson's flamboyance in the same picture to recognize the subtlety of Holden's introspective performance. Or maybe his opportunistic Joe Gillis simply hit too close to home for comfort. In the supporting categories, I went with George Sanders as the acidulous Addison de Witt and Thelma Ritter as the wise and loyal Birdie in All About Eve. (Maybe Mankiewizc should have gotten a special award for creating the most amusing character names.) Biggest omission: Humphrey Bogart's Dixon Steele in In a Lonely Place.
1951
BEST PICTURE
The Winner: An American in Paris
My Pick: A Streetcar Named Desire
BEST DIRECTOR
The Winner: George Stevens, A Place in the Sun
My Pick: Elia Kazan, A Streetcar Named Desire
BEST ACTOR
The Winner: Humphrey Bogart, The African Queen
My Pick: Marlon Brando, A Streetcar Named Desire
BEST ACTRESS
The Winner: Vivien Leigh, A Streetcar Named Desire
My Pick: Vivien Leigh, A Streetcar Named Desire
BEST SUPPORTING ACTOR
The Winner: Karl Malden, A Streetcar Named Desire
My Pick: Karl Malden, A Streetcar Named Desire
BEST SUPPORTING ACTRESS
The Winner: Kim Hunter, A Streetcar Named Desire
My Pick: Thelma Ritter, The Mating Season
The most astounding year for misguided awards since 1941. I can only infer that even though its preoccupation with sex had been toned down from the stage version, A Streetcar Named Desire was just too shocking and unconventional for the Academy. Instead, they went for the charming but innocuous An American in Paris (far from the best Hollywood musical) for best picture and gave a Career Achievement Award to George Stevens for his tasteful direction of A Place in the Sun. It is incomprehensible that Marlon Brando was denied an Oscar for the most innovative and influential performance by an actor of the decade. That Humphrey Bogart got a Career Achievement Oscar for his emasculated character performance in The African Queen is simply a travesty, a repudiation of the forceful screen persona he had worked so hard to establish during the previous ten years. At least the Academy realized that Vivien Leigh, playing a delusional middle-aged version of Scarlett O'Hara, was as in 1939 the only reasonable choice for best actress. For best supporting actress I chose Thelma Ritter for the second year in a row for this, her best comedy performance, over Kim Hunter, who I thought was overshadowed by her costars. Biggest omission: Robert Walker, best actor for Strangers on a Train.
1952
BEST PICTURE
The Winner: The Greatest Show on Earth
My Pick: High Noon
BEST DIRECTOR
The Winner: John Ford, The Quiet Man
My Pick: Fred Zinneman, High Noon
BEST ACTOR
The Winner: Gary Cooper, High Noon
My Pick: Gary Cooper, High Noon
BEST ACTRESS
The Winner: Shirley Booth, Come Back, Little Sheba
My Pick: Julie Harris, The Member of the Wedding
BEST SUPPORTING ACTOR
The Winner: Anthony Quinn, Viva Zapata!
My Pick: Jack Palance, Sudden Fear
BEST SUPPORTING ACTRESS
The Winner: Gloria Grahame, The Bad and the Beautiful
My Pick: Jean Hagen, Singin' in the Rain
In this year's best picture race a bloated, lavish entertainment once again prevailed over a smaller, more intimate picture. Maybe Westerns weren't taken seriously; a Western hadn't won since Cimarron in 1931 and wouldn't again for several more decades. Or maybe the possibility that High Noon could be interpreted as a condemnation of McCarthyism (this during the height of the Cold War and the Hollywood blacklists) scared off the Academy. (I've never particularly seen the movie in this light myself, always focusing more on the universality of its depiction of collective cowardice.) High Noon's director was snubbed too, in favor of veteran John Ford for the ultimate expression of his Irish fetish in the cornball (but in its way amusing) blarney of The Quiet Man. At least Gary Cooper, perfectly cast as the laconic sheriff under pressure, was justly rewarded for his performance in High Noon. Shirley Booth took best actress for her turn as a pathetic frump in Come Back, Little Sheba, but I have to admit that this is a performance I find wearing and that after a while begins to irritate. I can understand how living with her would drive Burt Lancaster to drink! Instead I went for Julie Harris as Carson McCullers's Frankie in another Zinneman film, the underappreciated The Member of the Wedding. She's not wholly convincing as a 12-year old but might pass for a mature 14-year old. Still, it's a mighty impressive performance, a unique character played with amazing concentration and conviction. I have a weakness for psycho characters, even if the Academy doesn't, and for supporting actor went with Jack Palance's psycho in the Joan Crawford damsel-in-distress melodrama Sudden Fear. I like Gloria Grahame a lot, but apparently the Academy didn't like the bad girls she played to a tee (including the one in Sudden Fear) and rewarded her instead for this rather bland, minuscule part. For supporting actress I picked Jean Hagen's broadly comical Lina Lamont in Singin' in the Rain. Biggest omission: Singin' in the Rain for best picture.
1953
BEST PICTURE
The Winner: From Here to Eternity
My Pick: From Here to Eternity
BEST DIRECTOR
The Winner: Fred Zinneman, From Here to Eternity
My Pick: Fred Zinneman, From Here to Eternity
BEST ACTOR
The Winner: William Holden, Stalag 17
My Pick: Montgomery Clift, From Here to Eternity
BEST ACTRESS
The Winner: Audrey Hepburn, Roman Holiday
My Pick: Audrey Hepburn, Roman Holiday
BEST SUPPORTING ACTOR
The Winner: Frank Sinatra, From Here to Eternity
My Pick: Frank Sinatra, From Here to Eternity
BEST SUPPORTING ACTRESS
The Winner: Donna Reed, From Here to Eternity
My Pick: Thelma Ritter, Pickup on South Street
The Academy made up for its mistakes of the year before by giving Oscars to Zinneman and his follow-up picture. This is a movie that still impresses me today. Its narrative strategy of relating two connected but parallel stories that barely intersect seems years ahead of its time. William Holden got his Oscar for playing a softened version of essentially the same character as in Sunset Blvd. but in a different environment and with a more acceptable outcome, thus removing any implicit criticism of the Hollywood establishment. He was probably helped by the dual nominations for best actor for From Here to Eternity. Burt Lancaster's performance in the movie seemed to attract more attention than Montgomery Clift's, but I went with Clift as the tortured Private Prewitt. Audrey Hepburn hit the big time with an irresistible performance, and there was no way anyone else was going to get the Oscar for best actress this year, a sentiment with which I completely concur. Donna Reed was impressive in the Zinneman picture, but the great Thelma Ritter, who for me can do no wrong, gave her best performance ever in a rare dramatic role in Samuel Fuller's Cold War film noir Pickup on South Street, and I went with her for best supporting actress for the third time in four years. Biggest omission: The Naked Spur—for picture, director, actor, supporting actor (Robert Ryan), or supporting actress (Janet Leigh).
1954
BEST PICTURE
The Winner: On the Waterfront
My Pick: On the Waterfront
BEST DIRECTOR
The Winner: Elia Kazan, On the Waterfront
My Pick: Alfred Hitchcock, Rear Window
BEST ACTOR
The Winner: Marlon Brando, On the Waterfront
My Pick: Marlon Brando, On the Waterfront
BEST ACTRESS
The Winner: Grace Kelly, The Country Girl
My Pick: Judy Garland, A Star Is Born
BEST SUPPORTING ACTOR
The Winner: Edmond O'Brien, The Barefoot Contessa
My Pick: Edmond O'Brien, The Barefoot Contessa
BEST SUPPORTING ACTRESS
The Winner: Eva Marie Saint, On the Waterfront
My Pick: Eva Marie Saint, On the Waterfront
For once the Academy's concept of best largely conformed to mine. I departed from their choice in only two categories, but those departures were significant ones. Alfred Hitchcock, like Cary Grant and Greta Garbo, is one of those classic film artists whose lack of an Oscar is frequently cited as proof of the Academy's disconnect with quality and consequent irrelevance. Rear Window (not nominated for best picture) is without a doubt Hitchcock's most loved film, by cinephiles and ordinary moviegoers alike. It satisfies and entertains in an exhilarating way that no other American movie of the year does, and those qualities are clearly down to Hitchcock's expertise in the manipulation of material, actors, visual realization, and above all audience reaction to achieve precisely calculated effects. Grace Kelly, who appeared in no less than five films released this year, was a lovely and enchanting actress, especially when directed by Alfred Hitchcock. But her Oscar for her dowdy performance in The Country Girl has always mystified me. Perhaps it was a reward for deglamorizing herself and playing against type, hardly the last time this would happen. Judy Garland, on the other hand, gave a big, flavorful, and variegated performance in A Star Is Born. (She is said to have lost to Kelly by just six votes, one of the closest races in Oscar history.) Garland, who hadn't appeared on the screen in four years, was probably hurt by the feeling that she was past her prime (while Kelly's star was on the rise) and by her reputation for neurotic, unprofessional behavior. Also unhelpful was the fact that the movie was butchered after previews. The film's director, George Cukor, certainly attributed her loss to pre-release tampering with the picture by Warner Bros. and has stated that neither he nor Garland could bear to watch the release version of the movie, knowing what had been removed. Garland's brilliance shines through even in the truncated version that remained after re-editing, but it wasn't until the restored version of 1983 that the full genius of her performance (or of costar and fellow nominee James Mason's) could be appreciated. Biggest omission: James Stewart, best actor for Rear Window.
1955
BEST PICTURE
The Winner: Marty
My Pick: Marty
BEST DIRECTOR
The Winner: Delbert Mann, Marty
My Pick: Elia Kazan, East of Eden
BEST ACTOR
The Winner: Ernest Borgnine, Marty
My Pick: James Dean, East of Eden
BEST ACTRESS
The Winner: Anna Magnani, The Rose Tatoo
My Pick: Katharine Hepburn, Summertime
BEST SUPPORTING ACTOR
The Winner: Jack Lemmon, Mr. Roberts
My Pick: Jack Lemmon, Mr. Roberts
BEST SUPPORTING ACTRESS
The Winner: Jo Van Fleet, East of Eden
My Pick: Betsy Blair, Marty
Many people find Marty overly sentimental, but I've liked this movie since I first saw it many years ago. I find its sentiment honest and, by Hollywood standards, pretty restrained, and for once Paddy Chayevsky's writing isn't saddled with a heavy-handed Message. If East of Eden, The Night of the Hunter, or Rebel Without a Cause had been nominated for best picture, making a choice would have been much more difficult. I diverged from the Academy's choice of best director because Elia Kazan was nominated (Nicholas Ray, who would have been my first choice, wasn't). Ernest Borgnine got a once-in-a-lifetime opportunity with the lead in Marty. However, I went with James Dean. Admittedly, his equally fine performance in Rebel Without a Cause the same year influenced me in this choice. Dean was probably too young and too radical in his acting style to prevail over Borgnine. Dean had died several months before the awards, and his status as an acting legend wasn't as firmly established as it is today. Also, the Academy had never given a posthumous acting award, and we all know how reticent they are to defy precedent. I like Magnani very much, but subtlety was not part of her acting style, and nowhere is this more apparent than in her English language movies. I adore Hepburn's finely calibrated acting in Summertime and for best actress went with her graceful performance instead. I didn't find Jo Van Fleet in East of Eden as impressive as her costars—including Julie Harris and Raymond Massey, neither one nominated. For best supporting actress I preferred Betsy Blair's touching performance as the repressed, parent-dominated teacher in Marty. Perhaps all those other wins for the picture hurt her chances, and the Academy felt compelled to recognize East of Eden with some award. Biggest omission: The Night of the Hunter—best picture, director, actor, or supporting actress (Shelley Winters, Lillian Gish).
THE SUMMING UP 1934-1955
BEST PICTURE
Agreed: 9
Disagreed: 13
BEST DIRECTOR
Agreed: 11
Disagreed: 11
BEST ACTOR
Agreed: 6
Disagreed: 16
BEST ACTRESS
Agreed: 7
Disagreed: 15
BEST SUPPORTING ACTOR
Agreed: 12
Disagreed: 8
BEST SUPPORTING ACTRESS
Agreed: 11
Disagreed: 9
During these years, I disagreed with the Academy most often in the lead acting awards. The reason is likely that these are the awards most influenced by personal popularity with peers, by box office success, and by sentimental appeal. But I must say that even though the Academy didn't duplicate my pick all that often, the choices they did make were generally acceptable ones—good performances that I can live with. The majority might not have been my own preference, and it's shocking how many memorable performances weren't even nominated, but looking back over the list of winners, I can't think of any winning performances that were downright mediocre. Although I disagreed with the best picture awards less often, I would say that those were, in comparison, far more serious disagreements. The Great Ziegfeld over Dodsworth, The Life of Emile Zola over The Awful Truth, How Green Was My Valley over Citizen Kane, Gentlemen's Agreement over Great Expectations, An American in Paris over A Streetcar Named Desire, The Greatest Show on Earth over High Noon—to my mind these are all horribly misguided awards. I think that this pattern of making forgivable mistakes over the acting awards and horrendously glaring mistakes over the best picture award is one that has continued to plague the Academy even beyond the years under consideration in these last two posts, and I expect this pattern to persist for as long as the Oscars continue.
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