“Judy Holliday’s first three starring roles were directed by gay director, George Cukor. She won the Best Actress Academy Award in 1951 for the second of these, Born Yesterday. According to one biography, her career suffered greatly because of her bisexuality. She was one of the many performers banned from working in Hollywood and television due to the McCarthy witch-hunts.”
-Excerpt from Bisexual Characters in Film From Ana’s to Zee by Wayne M Bryant
Timothée Chalametattends the 94th Annual Academy Awards at Hollywood and Highland on March 27, 2022 in Hollywood, California.Timothée wears jacket, pants and boots Louis Vuitton, jewellery Cartier. (Photo by Kevin Mazur/WireImage)
“It would have been so different if you hadn’t run away. It would have been you instead of Walter. Or if you had stopped me. When I lifted the cane, why didn’t you stop me? You know how much I hated her. Why didn’t you stop me?”
In April, TCM celebrates all things Oscar with their 31 DAYS OF OSCAR programming, and it frankly boggles my mind how Barbara Stanwyck never won a competitive Academy Award. She received nominations for STELLA DALLAS (‘37), BALL OF FIRE (‘41), DOUBLE INDEMNITY (‘44) and SORRY, WRONG NUMBER (‘48). She was such a good, solid actress. Starting off as a Broadway chorus girl, Stanwyck had been honing her craft in film since 1929. Never really the sweet, ingenue, girl-next-door type, there was often an edge and feistiness to even her most sympathetic characters. The bulk of the 1930s saw her in dramas, but THE MAD MISS MANTON (‘38) unlocked the screwball door.
It turns out Stanwyck could do comedy and drama (no easy feat being a double threat) and sling a line with the best of ’em. On second thought, perhaps she is a triple threat because she could do Westerns (I never saw Bette Davis gallop on a horse and no, rear screen projections don’t count). Or maybe even a quadruple threat because she could dance: (did you see her do that split in LADY OF BURLESQUE, ‘43)? In the 40’s, Stanwyck jumped another hurdle as she crossed the threshold into stone-cold, lethal ladyhood with DOUBLE INDEMNITY.
It’s often too easy to say someone is a good girl or bad guy. As soon as you ask WHY one does what one does…you realize folks are a little more complex than either or. That’s where I put Stanwyck as she delves into the dark side with THE STRANGE LOVE OF MARTHA IVERS. I must have seen this movie, conservatively speaking, at least 11,329,853 times since the 1960s. It’s one of my top five favorite films. Stanwyck is great in this. I see her Martha Ivers as a woman trapped. The entire cast is terrific. Everyone fulfills the trope of characters we’ve become familiar with in the world of film noir. Along with Stanwyck, the film stars Van Heflin, Lizabeth Scott and in his first screen appearance, Kirk Douglas as Stanwyck’s husband, Walter O’Neil.
Scott’s character here is a girl more on the good side than bad side of noir, and who’s been hurt by men…victimized. Oh, we see she knows she appeals to men, and they want to give her things. But then she’s often left holding the bag. In MARTHA IVERS she’s on parole and will be used by the law to corner Heflin. But before she betrays him, they’ve got a nice budding relationship going. She’s a little wary and can take care of herself, but ultimately she’s a lost, hurt pup. Composer Miklós Rózsa underscores her vulnerability with sweet romantic violins. She has no hidden agenda and just wants a ride out of town in the opposite direction the law wants to send her. She falls for Heflin. This time she might’ve picked right: a man who wants nothing from her. But before they go forward, he must go back.
It took me 40 years of watching this movie to really fall for Van Heflin and now…I’m hooked. I really like him in this film. Heflin plays Sam Masterson, the usual protagonist you see in film noir: the flippant, wise-ass, smart aleck: “The road turned and I didn’t.” He roams from thing to thing…wears the requisite fedora. Sam is easy, breezy. And he stumbles into his past. While Walter might not bruise an olive, Sam doesn’t back away from a fight. Sam shows us a glimpse of hurt when he talks about his “people” who abandoned him. He’s sensitive to the hard-luck girl he picks up along the way without taking advantage of her. He’s also an opportunist. He figures out that from asking D.A. Walter for a favor, it might land him in the chips if he plays his cards right.
As an actor, Heflin faces the big kahuna in this movie: Stanwyck. This is their first pairing but it wouldn’t be their last. They co-star in EAST SIDE, WEST SIDE (‘48) and B.F.’s DAUGHTER (‘49). They’re both so accomplished opposite each other. Stanwyck has had some dashing leading men in her career, but for my money…very, very few of them can hold a candle with her like Van Heflin.
The Oscars likes Acting ( with a capital “A” ). I’ll begrudgingly admit, Stanwyck’s four Oscar-nominations come from showier performances. In them, she’s a terrorized, self-sacrificing, pistol of a showgirl with a cheap blonde wig living with some squirrely professors and wants her lover to murder her husband. She’s not showy in MARTHA IVERS though she does run a gamut of emotions and attitudes on her journey, and nothing beats Stanwyck when she has to desperately plead. Whether she’s steely, contemptuous, dismissive, sarcastic, desperate, desirous, loving or volcanic, Barbara Stanwyck has many gears she can expertly shift into. And any one of them should garner her an Oscar.
THE STRANGE LOVE OF MARTHA IVERS is one of the best films noir. Riveting in how it unspools events, it’s all a noir should be, even without the flashback and narration. And please keep your eye out for Ann Doran’s five-minute bit as a secretary. She’s a dream. Simply a dream. They say you can’t go home again. It’s especially true in film noir. Well, time to watch the movie once more. Coming up on my 11,329,854th time.
The Academy Awards have evolved greatly since that first ceremony was held on May 16th, 1929 in the Blossom Ballroom of the Hollywood Roosevelt Hotel. To quote the late, great Robert Osborne, who himself was the foremost expert on Oscar history, the early days were “a time of great changes everywhere, a dynamic period of transition.” And after the first decade, “the Academy Awards and the Academy itself had become prestigious parts of the film community.” Much of that first decade and beyond saw the Board of Governors and the Academy experimenting with new and shifting categories, establishing a variety of honorary awards and altering the selection process.
There was a time when winners were announced months before the actual ceremonies without nominees, just a sole winner and honorable mentions and when write-in nominations were allowed and the Board of Governors hand-selected winners without input from the Academy. The awards have changed over time and the process has been fine-tuned. While some categories have lasted to this day, many have been discontinued, relegated to the history books as anomalies of Oscar’s past. Let’s take a look at some of the most notable discontinued categories.
BEST UNIQUE AND ARTISTIC PICTURE:
There were 12 award categories presented at the very first Academy Awards ceremony. A few of these were one-shot deals never to appear again. Best Picture, as it is known today, was split into two categories: Outstanding Picture and Unique and Artistic Picture. While WINGS (’27) is generally considered to be the first Best Picture winner, SUNRISE (’27) won Best Unique and Artistic Picture, a recognition no other film has earned since.
BEST DIRECTING, COMEDY PICTURE & DRAMATIC PICTURE:
That same year, the Best Director category was split into two: Comedy Picture and Dramatic Picture. There were no nominees, just one winner and one or two honorees. Frank Borzage won the only Best Directing, Dramatic Picture Oscar for 7TH HEAVEN (’27) and Lewis Milestone won Best Directing, Comedy Picture for TWO ARABIAN KNIGHTS (’27). Charlie Chaplin was to be nominated for directing THE CIRCUS (’28), but according to Robert Osborne, the Academy decided to give him a special award instead in recognition for directing, writing, producing and acting in the film. The Academy Board of Judges, as it was known at the time, sang Chaplin’s praises and in a letter wrote to him saying, “the collective accomplishments thus displayed place you in a class by yourself.”
BEST ENGINEERING EFFECTS:
Special effects artist Roy Pomeroy won the first and only Academy Award for Best Engineering Effects for his work on WINGS (’27). Ralph Hammeras and Nugent Slaughter, the latter of whom was being recognized for his work on THE JAZZ SINGER (’27), received honorable mentions. This award disappeared until 1938 when it was given new life as the Best Special Effects Oscar. It split into two sub-categories: Photographic and Sound. In the mid-1940s, it was changed again to Visual and Audible. By 1963, the Academy decided to present the awards as Best Visual Effects and Best Sound Editing. While Visual Effects is still an active category, Best Sound Editing was merged with Best Sound Mixing to become simply Best Sound.
JUVENILE OSCAR:
From 1935 to 1961, the Academy presented miniature Oscar statuettes to juvenile actors in recognition for their outstanding contributions to film. There were 12 total recipients at 10 different award ceremonies. The first was Shirley Temple who at 6 years old was presented the statuette by Irvin S. Cobb. He declared “When Santa Claus brought you down Creation’s chimney, he brought the loveliest Christmas present that has ever been given to the world.” Other recipients included Deanna Durbin, Mickey Rooney, Judy Garland, Margaret O’Brien, Peggy Ann Garner, Claude Jarman Jr., Bobby Driscoll and others. Both Garland and O’Brien’s Juvenile Oscars were stolen and the Academy replaced them with new statuettes. There were only 14 miniature statuettes ever made, making this one of the rarest Oscars in history not only because of its size but how few were made. The award wasn’t presented every year and was fairly inconsistent. The last to win was POLLYANNA (’60) star Hayley Mills. Shirley Temple presented the final award and Annette Funicello accepted it on Mills’ behalf. The award was retired and actors under the age of 18 were eventually recognized in the other acting categories.
BEST ASSISTANT DIRECTOR:
This is by far the strangest and least consistent of the discontinued categories. At the 6th Academy Awards in 1934, a whopping 18 assistant directors were nominated for this new category. Out of the 18 nominees, there were 7 winners each representing one of the major studios. The nominations were not tied to a specific movie, but rather served as recognition for work completed in 1932 and 1933. The first winners included: Charles Barton (Paramount), Scott Beal (Universal), Charles Dorian (MGM), Fred Fox (United Artists), Gordon Hollingshead (Warner Bros.), Dewey Starkey (RKO) and William Tummel (Fox). The category was presented at the next four Academy Awards but with only a few nominees and just one winner. After 1938, the Academy retired the category, choosing to focus on Best Director.
BEST DANCE DIRECTION:
Choreographers enjoyed some recognition during the hey-day of 1930s musical with the Best Dance Direction Oscar. This category was presented from 1936 to 1938. At the 8th Academy Awards, seven choreographers were nominated, each for two different musical numbers, not necessarily in the same film. Dave Gould won for his dance numbers in BROADWAY MELODY OF 1936 (’35) and FOLIES BERGERES DE PARIS (’35). The following two years, seven choreographers were nominated, each for just one dance number. This category was short-lived and did not make a comeback in 1939.
It can feel a little awkward when a child is told they did a better job at work than an adult. That was the case with the Academy Awards at least. At 9 years old, Jackie Cooper was the first child nominated for a Best Actor at the 4th Annual Academy Awards. Nominated for SKIPPY (’31), Cooper was competing against Richard Dix, Fredric March, Adolphe Menjou and Lionel Barrymore. It was Barrymore who took home the award that night for his performance in A FREE SOUL (‘31).
Three years later, 6-year-old Shirley Temple looked like a serious contender for a Best Actress nomination at the 7th Academy Awards. This same year, there was heartburn that Bette Davis hadn’t received an official nomination for OF HUMAN BONDAGE (’34). As a compromise, Temple’s autobiography notes that a special Juvenile Academy Award was created, “In grateful recognition of her outstanding contribution to screen entertainment during the year 1934.” Claudette Colbert took home the Best Actress award that year for IT HAPPENED ONE NIGHT.
The juvenile statue awarded to the young actors was half the size of the regular Academy Award; standing about seven inches tall. Temple was the first to receive an award that was presented 10 times to 12 honorees over the next 26 years. The juveniles ranged in ages 6 to 18.
Shirley Temple, 1934 at the 7th Annual Academy Awards
As Temple sat bored at the Academy Awards, she was surprised to hear her name announced during the ceremony. Host and humorist Irvin S. Cobb called her “one giant among the troupers.” As she grabbed her miniature-sized award, she asked, “Mommy may we go home now?” according to her autobiography. “You all aren’t old enough to know what all this is about,” Cobb told Temple. Shirley’s mother told her that she received the award for “quantity, not quality,” because Temple starred in seven films in 1934.
In 1985, Temple received a full-sized award, as she felt the juvenile actors deserved a regulation-sized award like everyone else, according to Claude Jarman, Jr.’s autobiography.
Mickey Rooney and Deanna Durbin, 1938 at the 11th Annual Academy Awards:
The second time the special award was presented was to two juvenile actors: Mickey Rooney, 18, and Deanna Durbin, 17. They received the award for “their significant contribution in bringing to the screen the spirit and personification of youth and as juvenile players setting a high standard of ability and achievement.”
“Whatever that meant,” Rooney commented in his autobiography on the award.
This was Durbin’s only recognition from the Academy. The following year, Rooney received his first adult nomination for BABES IN ARMS (’39). In total, he received four other competitive awards as an adult, and received one Honorary Award in 1983 in recognition of “50 years of versatility in a variety of memorable film performances.”
Judy Garland, 1939 at the 12th Annual Academy Awards:
Judy Garland, 17, was presented her Juvenile Academy Award by her frequent co-star Mickey Rooney. Garland received her award for “her outstanding performance as a screen juvenile during the past year” for her performances in BABES IN ARMS (’39) and THE WIZARD OF OZ (’39). Garland wouldn’t be recognized with a nomination by the Academy again until her 1954 performance in A STAR IS BORN. Garland reported losing the Juvenile Award in 1958, and it was replaced by the Academy at her own expense.
Margaret O’Brien, 1944 at the 17th Annual Academy Awards
Margaret O’Brien, 7, received the Juvenile Academy Award “for outstanding child actress of 1944” for the film MEET ME IN ST. LOUIS (’44). When Margaret O’Brien received her Oscar, she said she wasn’t really that interested in it at the time. “I was more excited about seeing Bob Hope. I was more interested in meeting him than the Oscar that night,” she said, quoted by her biographer.
In 1958, O’Brien’s award was lost. Her housekeeper, Gladys, took the Juvenile Academy Award home to polish and didn’t return. A short time after, Gladys was put in the hospital for a heart condition and the award was forgotten. When Margaret reached out later about the award, the maid had moved, according to her biographer.
Nearly 40 years later, two baseball memorabilia collectors — Steve Meimand and Mark Nash— returned the award to O’Brien in 1995. The men had bought it at a swap meet in Pasadena, according to a Feb. 9, 1995, news brief in the Lodi New-Sentinel. “I never thought it would be returned,” she said in 1995. “I had looked for it for so many years in the same type of places where it was found.” In 2001, O’Brien donated her Oscar to the Sacramento AIDS Foundation.
Peggy Ann Garner, 1945 at the 18th Annual Academy Awards
After appearing in films since 1938, Peggy Ann Garner’s breakout role was in the film adaptation of A TREE GROWS IN BROOKLYN (’45). That year at the Academy Awards, 14-year-old Garner was recognized with the Juvenile Award “for the outstanding child actress of 1945.” It was an unexpected honor for Garner, who was confused why she was asked to sit in an aisle seat. She thought it was a mistake when her name was announced, according to Dickie Moore’s book on child actors.
Claude Jarman Jr., 1946 at the 19th Annual Academy Awards
Claude Jarman Jr. was plucked from his home in Knoxville, Tenn. and thrust into stardom when director Clarence Brown selected him for the lead role in THE YEARLING (’46). Jarman wrote in his autobiography that he gave a brief speech saying it was a thrilling moment and “This is about the most exciting thing that can happen to anybody.” However, later admitted that at age 12 the significance of the award escaped him. Following Shirley Temple’s example, Jarman also later received a full-sized Academy Award.
Ivan Jandl, 1948 at the 21st Annual Academy Awards
Ivan Jandl received the Juvenile Academy Award in his only American film, making him the first Czech actor to receive an Academy Award. At age 12, Jandl was recognized for his “outstanding juvenile performance of 1948 in THE SEARCH (’48).” The film was one of only five films Jandl starred in. Jandl was not permitted by the Czechoslovakia government to travel to the United States to accept his award, which was accepted on his behalf by Fred Zinnemann, who directed THE SEARCH.
Bobby Driscoll, 1949 at the 22nd Annual Academy Awards
Bobby Driscoll received the award for “the outstanding juvenile actor of 1949” after appearing in the film-noir THE WINDOW (’49), as well as his performance in the Disney film SO DEAR TO MY HEART (’48). “I’ve never been so thrilled in my life,” 13-year-old Driscoll said when he accepted the award.
Jon Whiteley and Vincent Winter, 1954 at the 27th Annual Academy Awards
Scottish actors Jon Whiteley, 10, and Vincent Winter, 7, co-starred as brothers in THE LITTLE KIDNAPPERS (’53). The co-stars were awarded for their “outstanding juvenile performances in The Little Kidnappers.” Whiteley’s parents wouldn’t let him attend the award’s ceremony, so it was mailed to him. “I remember when it arrived, hearing it was supposed to be something special, I opened the box and I was very disappointed. I thought it was an ugly statue,” Whiteley said in a 2014 interview.
Vincent Winter was also not present for the award, so Tommy Rettig accepted the award on behalf of both actors.
Hayley Mills, 1960 at the 33rd Annual Academy Awards
The last Juvenile Academy Award was award to Hayley Mills, 14, in 1960 for her role in POLLYANNA (’60). The award was presented by the first winner of the Juvenile Award, Shirley Temple. Mills was unable to attend, and it was accepted on her behalf by fellow Disney star Annette Funicello.
In a 2018 interview, Mills said she didn’t know she had received it until it arrived at her home. Mills was in boarding school in England at the time of the ceremony. “I didn’t know anything about it until it turned up. Like, ‘Oh, that’s sweet. What’s that?’ I was told, ‘Well, this is a very special award,’ but it was quite a few years before I began to appreciate what I had,” she said in a 2018 interview.
The Aftermath
Throughout the tenure of the honorary Juvenile Academy Award, other children were still occasionally nominated, including Bonita Granville, 14, for THESE THREE (’36); Brandon de Wilde, 11, for SHANE (’53); Sal Mineo, 17, for REBEL WITHOUT A CAUSE (’55) and Patty McCormack, 11, for THE BAD SEED (’56).
Once Patty Duke, 16, won the Academy Award for Best Actress in a Supporting Role in 1963 for THE MIRACLE WORKER (’62), the honor was discontinued. Following Duke, Tatum O’Neal, 11, received the award for Best Supporting Actress for PAPER MOON (’73).
In recent years, there has been discussion about bringing the award back. In a 2017 Hollywood Reporter article, the argument was made that after the discontinuation of the award, fewer children have been recognized by the Academy. The performance of Sunny Pawar in LION (2016) wasn’t nominated, which was viewed as a snub, according to a 2017 Hollywood Reporter article. Other children haven been nominated in major categories, like Quvenzhane Wallis for BEASTS OF THE SOUTHERN WILD (2012), which to date makes her the youngest nominee for Best Actress in a Leading Role, and Jacob Tremblay in ROOM (2015). But the last time a child has won a competitive award was Anna Paquin for THE PIANO (1993).
The Academy Awards has a long and complicated history of recognizing international films. The Best Foreign Language Film category, now the Best International Feature Film, was an attempt to rectify this and give international filmmakers, with films in languages other than English, an opportunity to earn the coveted Oscar statuette.
It all started with Conrad Nagel. He was one of the founding members of the Academy of Motion Picture Arts and Sciences (AMPAS). When he and 35 fellow members of the film industry convened at the Ambassador Hotel in 1927 to discuss the path forward for the organization, Nagel suggested that “International” be included in the title. According to writer Michael S. Barrett, “he was persuaded to drop the International and for many years AMPAS appeared specifically dedicated to American films.”
Prior to 1957, foreign language films struggled to get noticed by the Academy. Jean Renoir’s GRAND ILLUSION (’37) was the first international film nominated for Best Picture. Other films were recognized in categories such as Best Writing and Best Art Direction, but these instances were few and far between. Then came WWII, which had a major impact on international filmmaking. Barrett writes, “out of the ashes of war came a crop of innovative filmmakers champing at the bit to do something creative and useful, and this was shown in the new styles of moviemaking under which they labored, fervently promoted and eventually attained undying fame.” American audiences were drawn to Italian Neorealism, Japanese Jidaigeki and later the French New Wave as exciting and new forms of cinema.
For the 20th Academy Awards in 1948, AMPAS’ Board of Governors created an honorary award for Best Foreign Language Film. At first it was not a competitive award. There were no nominees, the Board would select just one film and while the honorary award was presented during the ceremony, news of the winner would often be announced before the ceremony. From 1948 to 1956, eight foreign language films were awarded, including SHOESHINE (’46) and BICYCLE THIEVES (’48) from Italy; MONSIEUR VINCENT (’47), THE WALLS OF MALAPAGA (’49) and FORBIDDEN GAMES (’52) from France; and RASHOMON (’50), GATE OF HELL (’53) and SAMURAI I: MUSASHI MIYAMOTO (’54) from Japan. Interesting to note that they completely skipped the award in 1954 and no explanation was given as to why.
The special achievement award morphed into a competitive one in 1957. Countries could submit one film for competition as long as they fit the Academy’s strict criteria. Films had to be longer than 40 minutes to be considered feature length, from a country outside the US and include more than 50% non-English dialogue. But of course, to be considered, English-language subtitles were necessary. Only the country’s officially designated representative could submit a film for consideration. The Academy would then select five nominees from the submissions and members voted on secret ballots. The rules shifted over time. Since 2006, it’s no longer required that the language spoken in the film be the most commonly spoken language of that country. Also rules about both public and private Academy screenings in the Los Angeles area have changed and now a film no longer has to be screened in the U.S. to qualify. Technically, the winner of the Oscar is the country of origin and not the director or producer, however they are usually the ones to accept the award at the ceremony.
The first Best Foreign Language Film was presented by AMPAS president George Seaton to Italy for Federico Fellini’s LA STRADA (’54). The award was accepted by producer Dino De Laurentiis. Early winners included France’s BLACK ORPHEUS (’59) and MON UNCLE (’58), Sweden’s THE VIRGIN SPRING (’60) and Italy’s NIGHTS OF CABIRIA (’57) and 8-½ (’63). Some critically acclaimed foreign films were overlooked because they either weren’t submitted by their native country or were disqualified for some reason or another. These included major films like LA DOLCE VITA (’60) and THE SEVENTH SEAL (’57). And if a foreign film was screened in the US, it had a better chance at winning the coveted prize. Once a foreign language film won the Best Foreign Language Film Oscar, it would be screened in the U.S., qualifying it for other competitive categories, like Best Director, Best Writing, Best Costume Design, etc. the following year.
Presenters for this category have almost always been either actors or the current AMPAS president. Jack Valenti, longtime president of the Motion Picture Association of America (MPAA) holds the record for most presentations for this category. Having recently watched all of the televised presentations and acceptance speeches on the Academy’s YouTube channel, I couldn’t help but notice the consistent trend of flowery speeches about the universal language of cinema. A few presenters stood out. Stars like Jane Fonda and Anthony Quinn openly criticized the use of the word “foreign” in the category. It’s always been required that the winner deliver their speech in English. As acceptance speeches grew longer over time, many filmmakers, especially from war torn nations, would seize the moment and the platform to deliver a poignant message.
There are three acceptance speeches that stand out to me. Perhaps the most famous one is from 1999 when actor/director Roberto Benigni accepted the award for LIFE IS BEAUTIFUL (’98). Benigni leapt from his seat, walked over guests, hopped up the steps and gave presenter Sophia Loren the biggest hug. His speech was incredibly emotional and there wasn’t a dry eye in the house by the end of it. My second favorite was delivered by director Alfonso Cuaron for his film ROMA (2018). While the Academy hasn’t publicly admitted this, I think Cuaron’s speech, in which he very gently criticizes the category and thanks the nominees who “have proven that we are part of the same ocean,” influenced change. The following year the Academy quickly pivoted and changed the category to Best International Feature Film. Dutch director Fons Rademakers whose film THE ASSAULT (’86) won in 1987, delivers my favorite speech. In it, he speaks to the general aversion to foreign language films by saying “This Foreign Language Oscar has a request… please don’t let subtitles scare you off as much as they seem to do from time to time.” Take his advice. Watch more international films!
Does winning an acting Oscar change the career of the recipient? The answer is yes and also no. Take Brad Pitt, who won Best Supporting Actor last year for ONCE UPON A TIME IN HOLLYWOOD(2019). He’s a veteran superstar with over three decades in Hollywood. So, the award is more icing on the cake for his career. But that wasn’t the case when he earned his first nomination for Terry Gilliam’s 12 MONKEYS(‘95). Pitt was on a hot streak since gaining attention for his roles in THELMA & LOUISE (‘91), A RIVER RUNS THROUGH IT (‘92), INTERVIEW WITH THE VAMPIRE (‘94) and LEGENDS OF THE FALL (‘94), and his first Oscar nominations gave his career an even bigger boost.
Similar to Pitt, many young actors discovered their stock in Hollywood with Oscar gold, but nominations and wins have effected various stars’ careers in different ways. Here’s a look at various Oscar winners and how the award affected their careers.
Martin Landau
The Oscar has changed the career trajectory of many veteran actors. Martin Landau was making such TV movies The Harlem Globetrotters on Gilligan’s Island (’81) that just squandered his talents. But that all changed when he earned his first Oscar nomination for Francis Ford Coppola’s TUCKER: THE MAN AND HIS DREAM (’88), followed by a second for Woody Allen’s CRIMES& MISDEMEANORS (’89), eventually winning for his poignant performance as Bela Lugosi in Tim Burton’s ED WOOD(’94).
Ironically, Landau told me in a 2010 L.A. Times interview he didn’t think he could play the Dracula star. “It’s a Hungarian morphine addict, alcoholic who has mood swings,” he remembered telling Burton. “That would be hard enough, but it has to be Bela Lugosi! I said I don’t know if I can do this, but let’s do some tests.”
Makeup artist Rick Baker transformed Landau into the elderly frail actor. Burton, he recalled, looked at the tests and thought he was 50% Lugosi. Landau believed he captured the icon in fleeting moments. “I said if I can do it 10% of the time, I can do it 100% of the time. They have to accept me as Lugosi in the first five minutes or we don’t have a film. It was not an impersonation for me. He had to be a human being.”
Melvyn Douglas
Similarly, Melvyn Douglas, who was best known for his comedic roles in the 1930s and ‘40s in such films as NINOTCHKA (’39), had seen his career slow in the 1950s because of his liberal political leanings. But he came back to the forefront in 1960 after winning a Tony Award for Gore Vidal’s THE BEST MAN, and then receiving his first of two supporting actor Oscars for his turn as Paul Newman’s hard-working Texas rancher father in Martin Ritt’s HUD(’63). Seven years later, he received a Best Actor nomination as Gene Hackman’s father in I NEVER SANG FOR MY FATHER (’70), ultimately winning his second Oscar as the president of the United States in Hal Ashby’s BEINGTHERE (’79).
Luise Rainer
The German stage actress was signed to an MGM contract in the mid-30s. But the free-spirited Rainer, who considered herself an actress and not a movie star, was always at logger heads with studio head Louis B. Mayer. She told me in a 2011 L.A. Times interview, Mayer “couldn’t make me out. You know it was a little bit difficult for him. I wasn’t the type that he was used to. So, the poor man didn’t know what to do with me. For my first film, ESCAPADE [‘35], William Powell said [to him] you got to star that girl…My first film made me a star.”
Rainer won Best Actress as famed performer Anna Held in THE GREAT ZIEGFELD (’36) and as a Chinese peasant in THE GOOD EARTH (’37). All but one of her subsequent films didn’t do well at the box office and she left Hollywood. She made one film, HOSTAGES (’43), guest starred on some TV series including a voyage on The Love Boat and had a small part in indie film THEGAMBLER (’97).
Art Carney
One of the greatest comedic actors, Carney came to fame in the Honeymooners sketches on The Jackie Gleason ShowandThe Honeymooners series as Ralph Kramden’s (Gleason) best pal, the clueless sewer worker Ed Norton. He won five Emmys for his work with Gleason. Carney also originated the role of neatnik Felix Ungar opposite Walter Matthau’s Oscar Madison in the 1965 Broadway production of Neil Simon’s The Odd Couple.
Well-known that he had a drinking problem, Carney wasn’t working that much in film or TV in the late 1960s and early 1970s. In fact, he tried to convince Paul Mazursky he wasn’t right for the filmmaker’s heartfelt dramedy HARRY & TONTO (’74) about a curmudgeonly old New Yorker who travels with his cat across country after he loses his apartment. Mazursky told me in a 2011 L.A. Times interview that no one wanted the part. James Cagney, Laurence Olivier, Cary Grant and even Danny Kaye were among those who turned him down.
He had seen Carney on Broadway in 1957 in a dramatic role in The Rope Dancers. “Of course, I had seen him in The Honeymooners. He didn’t want to do it,” noted Mazursky. “He said ‘I’m 59 years old and you want this guy to be in his 70s.’ I said, ‘Art, this is the first time I met you and you look like you are in your 70s – you’re balding, you wear a hearing aid and you have a bum leg.’ He told me, ‘You don’t want me, I’m an alcoholic.’ He had one bad night then nothing else. He had been out on a binge and he showed up on location in Chicago in a taxi in the morning loaded. I took him up to his room, put him in the shower and made him a pot of coffee. He was easy to direct.”
Carney won both the Golden Globe and the Academy Award for his turn, beating out the likes of Jack Nicholson for CHINATOWN and Al Pacino for THE GODFATHER PART II. And he did some of his best work post-Harryincluding as an aging Los Angeles private detective in the charming THE LATE SHOW (’77) and as a senior who teams up with his buddies (George Burns and Lee Strasberg) to rob a bank in GOING IN STYLE (’79). He earned his sixth Emmy for the TV movie Terrible Joe Moran (’84), which was James Cagney’s last film. Carney’s final film was the 1993 Arnold Schwarzenegger disaster LAST ACTION HERO. “I’m outta here” was the last line Carney ever uttered on film.
We all have our favorite Oscar winners that we love to watch over and over again. But there are numerous Oscar winners and nominees that have gained new life thanks to TCM, HBO Max and DVD that are definitely worth revisiting. Here are some of my favorites:
RANDOM HARVEST
I interviewed the legendary funny man Carl Reiner a few months before his death and the conversation drifted to RANDOM HARVEST (’42) and how much he loved the romance. Robert Redford is also a fan. In the 1990s, he was planning on doing a remake, and in 2014, it was announced that Julian Fellowes (Downton Abbey) was hired to pen a remake. The handsome MGM production based on James Hilton’s bestseller starring Ronald Colman and Greer Garson was a huge hit that year and was nominated for seven Oscars including Best Film, Actor for Colman, Actress in a Supporting Role for Susan Peters and Director Mervyn LeRoy.
Both Colman and Garson had great success in other Hilton adaptations – Colman starred in LOST HORIZON (’37) and Garson made her U.S. film debut and earned her first Best Actress Oscar nomination in GOODBYE, MR. CHIPS (’39). RANDOM HARVEST is often overlooked by the other big MGM film released in 1942, William Wyler’s MRS. MINIVER. Not only was the stirring drama about a British family attempting to survive the years of World War II a blockbuster at the box office, but it also won a striking eight Oscars.
But I think RANDOM HARVEST is the more engaging film. It’s hard not to fall in love with this romantic tale with Colman at his most dreamy as a shell-shocked amnesiac veteran of World War I (Colman was wounded in the global conflict) named Smith who falls in love and marries a loving young entertainer (Garson). But Smithy, as Garson’s Paula calls him, is hit by a car on his way to a job interview and wakes up with no memory of the past three years but does remember who he really is – an aristocrat by the name of Charles Rainier.
Will true love reunite these two? The sigh level is very high with RANDOM HARVEST and this love story has a very strong place in my heart.
NONE BUT THE LONELY HEART
I’ve had more than a few people ask me why I like NONE BUT THE LONELY HEART (’44) so much. It’s depressing, they say. It’s downbeat, they say. But I think it’s a chance to see Cary Grant in a rare break out of his “Cary Grant” suave, sophisticated image. Adapted and directed by Clifford Odets from the novel by Richard Llewellyn (How Green Was My Valley), NONE BUT THE LONELY HEART casts Grant as Ernie Mott, a Cockney drifter who returns home to his Ma (Ethel Barrymore). When he learns that she’s dying of cancer, Ernie stays to help run her second-hand shop. But Ernie can’t stay out of trouble, joining forces with a gangster stealing cars and pursuing the mobster’s wife (June Duprez).
Meanwhile, his neighbor Aggie (Jane Wyatt) is madly in love with him and tries to save Ernie from a life of crime. The film was generally warmly received, earning four Oscar nominations and winning supporting actress for Barrymore. She shot her scenes during her two-week vacation from her Broadway triumph The Corn Is Green, and the Academy Award transformed the Broadway star into a much-in-demand film actress. She would go on to earn three more Oscar nominations.
Grant, who had earned his first Oscar nomination three years earlier for PENNY SERENADE (‘41), didn’t attend the Academy Awards where Bing Crosby won best actor for GOING MY WAY. Grant never earned another Oscar nomination, but received an Oscar honorary in 1970.
NIGHT MUST FALL
Handsome and charismatic Robert Montgomery was one of MGM’s top leading men in the 1930s, best known for his work in comedies including PRIVATE LIVES (’31) and FORSAKING ALL OTHERS (’34). Though he did an occasional dramatic part, nothing really stretched him as an actor until NIGHT MUST FALL (’37). Montgomery had long been bugging MGM head Louis B. Mayer for better roles. He supposedly allowed Montgomery to do NIGHT MUST FALL because the studio head thought the actor would be embarrassed when the movie failed. Montgomery later said, “they okayed me playing in it because they thought the fan reaction in such a role would humiliate me.” He went so far as to help subsidize the film’s production budget.
Based on the play by Emlyn Williams which ran on Broadway in 1936, NIGHT MUST FALL finds Montgomery playing Danny, a serial killer who just happens to have a trophy from his latest victim—her head—in a hatbox. Danny charms his way into the heart and home of a wealthy elderly woman (Dame May Whitty, reprising her London stage role). Rosalind Russell, who made five films with Montgomery, plays the elderly woman’s niece who has her suspicions about Danny but can’t convince her aunt that she’s in danger. Both Montgomery and Whitty earned Oscar nominations.
Though Montgomery returned to the comedy genre after NIGHT MUST FALL, he began directing films such as LADY IN THE LAKE (’46) and found great success in TV in the 1950s with the anthology series Robert Montgomery Presents, which often featured his daughter Elizabeth.
THE NAKED SPUR
Jimmy Stewart’s image took a 180 degree turn in the 1950s thanks to Alfred Hitchcock with REAR WINDOW (’54) and VERTIGO (’58), but most notably in the five Westerns he made with Anthony Mann. Far from the boy-next-door character he played pre-World War II, Stewart was transformed into conflicted, troubled men – anti-heroes who often could be as villainous as the bad guys who peppered these sagebrush sagas. (Mann also directed Stewart in three non-Westerns).
THE NAKED SPUR (’53), which earned a screenplay Oscar nomination for Sam Rolfe and Harold Jack Bloom, is my favorite of their collaborations. Stewart really digs deep into the character of Civil War veteran turned bounty hunter, Howard Kemp. He’s angry and bitter having lost his land during his conflict. Kemp hopes he can get his land back by working as a bounty hunter. And he’s doggedly determined to get outlaw Ben Vandergroat (a fabulously vile Robert Ryan). Along the way, he encounters two men (Millard Mitchell and Ralph Meeker) who join him on his journey. And when he finds Vandergroat, he also discovers he has a young woman (Janet Leigh) with him. Intelligent, often disturbing and brilliantly acted, THE NAKED SPUR is an exceptional exploration of the dark side of humanity.
In this year’s 31 Days of Oscar lineup (also available on WatchTCM), among all of the classics we’ve watched and rewatched many times, there is one movie that may at first glance appear to be slightly out of place: the Laurel and Hardy film BLOCK-HEADS (’38). Although it is not as well known or acclaimed, I believe that it is every bit as good as most of the other Oscar-nominated films being shown this month.
In BLOCK-HEADS, Laurel and Hardy portray, as the title suggests, two not-so-bright fellows. The film opens with footage of World War I and we meet Stan and Ollie, two soldiers in the trenches. While the rest of the company goes into battle, Stan is ordered to stay back and guard the trench. In a delightfully dark turn of events, the other soldiers never return, news of the eventual armistice never reaches Stan and he dutifully guards the trench… for 21 years. The year is now 1938, and Stan has been subsisting solely on cans of beans. We even see a humongous mountain of 21 years’ worth of bean cans; it is a haunting image. He is discovered and returned to society, and when Ollie sees his friend’s photograph in the paper he decides to invite him over for dinner. Mayhem, needless to say, ensues.
I first saw this film a few months ago and it was one of my most delightful movie-watching experiences in recent memory. I hadn’t laughed so hard at a movie in a long time. With a running length of just 57 minutes, it’s densely packed with great gags which I won’t attempt to describe here. I’ll just say that my personal favorite gag is the one involving a football and leave it at that.
BLOCK-HEADS was nominated for Best Original Score. Marvin Hatley’s score is certainly good (even if it was often difficult to hear over the sound of my uproarious laughter), but it does seem a bit odd that it’s all that BLOCK-HEADS was nominated for, since it’s just about the last thing you think about when you finish watching this movie. You’re thinking about the hilarious performances by Laurel and Hardy – their gestures and facial expressions – the way Hardy reflexively touches his hat and the way Laurel sways side to side when he’s standing around, not really knowing what to do with himself. Or maybe you’re thinking about the script with its brilliant setups and payoffs. But the actors, writers and directors of movies like BLOCK-HEADS would rarely find themselves nominated for awards.
The film’s director, John G. Blystone, was never nominated for an Oscar. Neither were any of the film’s five writers. Laurel received an honorary Oscar in 1961, but apart from that, Laurel and Hardy themselves were never nominated for anything, even though their performances have aged remarkably well. As for their films,BLOCK-HEADS and WAY OUT WEST (’37) earned Best Original Score nominations, while THE MUSIC BOX (’32) won and TIT FOR TAT (’35) was nominated for Best Live Action Short Subject, Comedy. Tellingly, their work was mainly recognized when competing in a category specifically devoted to comedy, which was discontinued in 1937. Although today Laurel and Hardy are beloved icons and many classic film lovers will agree that their films have stood the test of time, those movies simply weren’t seen as worthy of much recognition when they were first released, except in peripheral categories. (I find it amusing that, although BLOCK-HEADS had no realistic chance of getting a Best Picture nomination at the 11th Oscars, it currently has a better IMDB rating than 6 of the 10 movies that were nominated instead.)
Comedies, particularly “lowbrow” comedies such as Laurel and Hardy’s slapstick-heavy movies, are seldom honored by the Oscars. The films of classic comedians such as Abbott and Costello, the Marx Brothers, Olsen and Johnson and W.C. Fields were regularly ignored. And this trend persists to the present day, perhaps to an even greater extent than in the 1930s. Best Picture nominees are notoriously drama-dominated, and the comedies that do get nominated are nearly always “comedy-dramas” like JOJO RABBIT (2019) which have an underlying seriousness at their core. Silliness for its own sake consistently goes unrewarded, whether it’s from Melissa McCarthy, Jack Black, Will Ferrell or Tyler Perry. Whether or not you think today’s comedians are comparable to those of the ‘30s and ‘40s, it is interesting to consider that Laurel and Hardy may have been viewed in their time the same way that critics receive an Adam Sandler comedy today, only for them to become respected decades later.
Great slapstick is really quite beautiful. Its humor is ageless and universal, striking some indescribable chord in our collective human psyche. What is it about Oliver Hardy slipping and falling on a rolling pin that makes us laugh? I’m not sure, but it’s hard to deny that slapstick has a mysterious power. Silliness deserves respect, especially when it is executed as exquisitely as in films like BLOCK-HEADS.
Academy Award winning actress Patricia Arquette tells Glamour how she’s lost out on a lot of jobs since making a bold speech about wage inequality in Hollywood at the 2015 Oscars.
In a world in which people are punished for sharing views about ways they’ve been wronged, we must stand strong and fight for what’s right. We must disrupt the expectations and shake the core of today’s norms.
