We’re getting closer to streamlined. Now you’re seeing the Oscars start to discover their own identity. The winners are starting to make sense, and the precedents are about to be set, and pretty soon it’s gonna be the way we know it to be. But we’re not quite there yet. Though this is the first year where an “Academy” film won, rather than the “best” film. (All Quiet on the Western Front was just better than the competition. Grand Hotel was an “Academy”-type winner.)
1931-1932 is a noteworthy year in Oscar history because it’s the last time no film would win more than two Oscars at the ceremony. And it would also be the last time until 1989 and Driving Miss Daisy that the Best Picture winner wasn’t also nominated for Best Director. It would also be the only time in which the Best Picture winner wasn’t nominated for any other Oscars. (Though that does technically mean that the film swept.) And then, outside the Oscars, this is also a year that is littered with Pre-Code films, where Hollywood practically got away with murder with what they put on the screen. Watch this clip. Look at how suggestive it is. That’s basically all the context you need for it.
Other winners this year were a tie for Best Actor, with Frederic March for Dr. Jekyll and Mr. Hyde and Wallace Beery for The Champ, winning (talked about here). March got one more vote than Beery, but Academy rules dictated that anything within three votes become a tie. Best Actress was Helen Hayes for The Sin of Madelon Claudet (talked about here), which was the best choice in the category. And Best Director was Frank Borzage for Bad Girl (talked about here), which I love, even though he didn’t really need it (they could have given King Vidor or Josef von Sternberg an Oscar this year). I’m sure many people would go another way there.
Overall, though, another solid year. Out of context, of course, it looks weak like almost all the early years, but in context, most of them are actually pretty solid.
BEST PICTURE 1931-1932
And the nominees were…
Arrowsmith (Goldwyn, United Artists)
Bad Girl (Fox)
The Champ (Metro-Goldwyn-Mayer)
Five Star Final (First National)
Grand Hotel (Metro-Goldwyn-Mayer)
One Hour With You (Paramount)
Shanghai Express (Paramount)
The Smiling Lieutenant (Paramount) (more…)
This was the last year of the “double years” of the Academy, and it’s fitting. 1932-1933 was the last year before everything became completely “classical” as we know it to be. By around, 1932, Hollywood had perfected sound and started telling stories freely. However, the issue that then arose was one of censorship. There were many scandals out of Hollywood in the 20s and it soiled the industry’s reputation. So they basically started self-censoring, creating a list of “Don’ts and Be Carefuls,” of things filmmakers should avoid putting on screen. It wasn’t something that had to be adhered to, so some people didn’t necessarily listen to it. So you had these “Pre-Code” films, as they came to be known, which were, in the words of Dick Powell in The Bad and the Beautiful, “liberally peppered with sex.” And the government was fixing to come down on them if they didn’t stop it, fast. So after 1933, they passed the Production Code (enforced by Will Hays. Which got it the nickname “Hays Code”), which was basically a list of things that couldn’t be shown on screen (and was basically an early form of the MPAA, in that, if you didn’t follow the guidelines of the system, you couldn’t get your film distributed in major theaters. Not having a production code seal was like being rated NC-17.) So this is the real last year of the party, so to speak. Which is fitting that this was the last year before the Oscars really became “the Oscars.”
This last year was basically a free-for-all for Best Picture. It was the first year of ten nominees, and I don’t think the Academy quite knew what to vote for. I think they fell back on classy stage material, which can explain how Cavalcade won Best Picture and Best Director for Frank Lloyd (talked about here). Best Actor was Charles Laughton for The Private Life of Henry VIII (talked about here), which I don’t particularly like as a decision (based on the category), but was a helpful decision in that it kept him from winning in other years where he really shouldn’t have won. And Best Actress was Katharine Hepburn for Morning Glory (talked about here), which — the category only had three nominees, and she was really the best in the bunch. It was a star-making performance, and it showed. I understand that completely.
The real question about this year is the Best Picture decision. It’s not that it’s a bad film, it’s just that one other film held up better. So, in a way, it feels like one of those years where they go with the “Academy” decision and overlook the film that’s clearly a better choice. And as a result, this is one of the weakest Best Picture winners of all time, and is certainly one of the two most forgotten (next to The Broadway Melody).
BEST PICTURE – 1932-1933
And the nominees were…
42nd Street (Warner Bros.)
A Farewell to Arms (Paramount)
I Am a Fugitive from a Chain Gang (Warner Bros.)
Lady for a Day (Columbia)
Little Women (RKO Radio)
The Private Life of Henry VIII (London Films, United Artists)
She Done Him Wrong (Paramount)
Smilin’ Through (Metro-Goldwyn-Mayer)
State Fair (Fox) (more…)
(Note: THIS CATEGORY IS NOT FINISHED. I still need to watch one of the nominees. I still have not been able to find The White Parade in any cheap/acceptable format. If anyone has it or knows where it can be procured, let me know, so this category can be finished.)
All right, now we have “The” Oscars. Now the Oscars are a man. Baruch atah adonai. None of that foundation stuff anymore. Now they know what these awards are about and what the criteria for them are, they can just start voting the way we do now. This year really solidified that. They got rid of the double years, all films nominated were for that singular calendar year, and they also gave a film the “big five,” which is like wiping the slate clean and saying, “Okay, now we know what we’re doing.”
It Happened One Night won everything this year. Best Picture, Best Director for Frank Capra (talked about here), Best Actor for Clark Gable (talked about here) and Best Actress for Claudette Colbert (talked about here). And of course, Best Screenplay. Hence the big five. I have absolutely no problem with any of these decisions, and they were all well-deserved. Though my favorite film of all time (The Thin Man) was on almost all those lists (still kind of upset about that Best Actress snub), so despite me being okay with the result, I still won’t vote for it. Still though, this is one of the best Academy years.
Two things to point out — this year and the year after this were the only two years in Academy history in which they allowed write-in candidates (that is, on the final ballot. After nominees were announced). These two years also happen to be the two years with the most Best Picture nominees (12).
BEST PICTURE – 1934
And the nominees were…
The Barretts of Wimpole Street (Metro-Goldwyn-Mayer)
Flirtation Walk (First National)
The Gay Divorcée (RKO Radio)
Here Comes the Navy (Warner Bros.)
The House of Rothschild (20th Century, United Artists)
Imitation of Life (Universal)
It Happened One Night (Columbia)
One Night of Love (Columbia)
The Thin Man (Metro-Goldwyn-Mayer)
Viva Villa! (Metro-Goldwyn-Mayer)
The White Parade (Fox) (more…)
Pic of the Day: “Who took this picture?” “D-A-D.” “And you lived with us?” “Yeah, 10962 Beachcrest Street, Cincinnati, Ohio.” “When did you leave?” “January 12, 1965. Very snowy that day. 7.2 inches of snow that day.” “Just after Mom died.” “Yeah Mom died January 5, 1965.” “You remember that day. Was I there? Where was I?” “You were in the window. You waved to me, ‘Bye bye Rain Man, Bye bye.”’
I consider 1935 the first year where the Academy can truly be critiqued. All of the double years are really just them figuring stuff out, and then 1934 was when they came out and were like, “We got it!” That sweep of It Happened One Night in 1934 was basically them really stating what they felt they were all about. So, to me, this is the first year where you can really say, “You know, I don’t agree with that.” From here on out, you can disagree with the decisions the way we do now.
Mutiny on the Bounty is a great film and a classic film, and it makes sense that it won Best Picture. Though it is a bit strange that it didn’t also win Best Director (or maybe the other way round, that The Informer didn’t win Best Picture). Best Director went to John Ford for The Informer (talked about here), which was totally deserved (and it kept Frank Lloyd from winning a third Oscar. He’s not exactly Capra, you know?). Victor McLaglen also won Best Actor for the film (talked about here), which was definitely deserved (plus his competition was Charles Laughton, Clark Gable and Paul Muni, who, respectively, won Best Actor the year before this, the year before that, and the year after this, so it worked out just fine). And Best Actress was Bette Davis for Dangerous (talked about here), which I don’t like at all, but don’t care about because the person who should have won based on performance (Katharine Hepburn) already had an Oscar.
The other note about 1935 is that is was (outside of it being one of only two years in Academy history in which write-in votes were allowed, the other being 1934) that this is the year that led to the creation of the Supporting categories. Franchot Tone, nominated for Best Actor this year, was really no more than a supporting character in Mutiny on the Bounty, but there was no category for supporting performances. So I feel like that led to them creating the Supporting Actor and Supporting Actress categories, to better fit performances like that. That’s probably not true, but as a screenwriter, I like making connections like that, that seem to fit easily enough. So I’m going with it.
Other than that — 1935 was a pretty good year. There were really only two films that were gonna win, and they split Picture and Director, so really it comes down to personal preference.
BEST PICTURE – 1935
And the nominees are…
Alice Adams (RKO Radio)
The Broadway Melody of 1936 (Metro-Goldwyn-Mayer)
Captain Blood (Warner Bros. Cosmopolitan)
David Copperfield (Metro-Goldwyn-Mayer)
The Informer (RKO Radio)
The Lives of a Bengal Lancer (Paramount)
A Midsummer Night’s Dream (Warner Bros.)
Mutiny on the Bounty (Metro-Goldwyn-Mayer)
Les Misérables (20th Century, United Artists)
Naughty Marietta (Metro-Goldwyn-Mayer)
Ruggles of Red Gap (Paramount)
Top Hat (RKO Radio) (more…)
This is another one of those years where the Academy established what they really consider to be a Best Picture. The Great Ziegfeld has everything you’d expect to see in a Best Picture. Though they were still figuring things out, despite that. Until this point, Best Picture and Best Director only synched up three times, which is the opposite of how we know it to be nowadays. (And it wouldn’t start synching up until 1941, with only 5 of the first 14 Best Director winners synching up with Best Picture.) It seems as though they were still equating Best Director with Best Screenplay at this point (since you’ll notice that a lot of the Best Director winners had stronger writing in their films than they did noticeably superior direction. With exceptions, of course), which explains how they could give Best Director this year to Frank Capra for Mr. Deeds Goes to Town (talked about here). That film isn’t so much well-directed as well-written, especially next to something like San Francisco or even Dodsworth and The Great Ziegfeld. But even so, at least they knew, for the most part, what they were doing with Best Picture.
This year was also the first year in which the Supporting Categories were introduced. The first Best Supporting Actor Oscar was given out, which went to Walter Brennan for Come and Get It (talked about here), which — who better to be given the first Supporting Actor Oscar than Walter Brennan? Even though they were still figuring out what “supporting” actually meant here. The category was insanely weak. And the first Best Supporting Actress winner was Gale Sondergaard for Anthony Adverse (talked about here), which I don’t much agree with, but, just like the pre-1934 years, you can’t really fault them, since they didn’t yet establish the category. You can tell they didn’t really know what constituted a supporting performance, since they gave Best Actress to Luise Rainer for The Great Ziegfeld (talked about here). Her performance is definitely what we’d consider nowadays to be a supporting performance, even though she was good in it.
The other winner was Paul Muni as Best Actor for The Story of Louis Pasteur (talked about here), which seems too much like a rush to get Muni a statue, since William Powell and Walter Huston had much better years (and performances) than he did (plus, he could have easily won the year after this for The Life of Emile Zola, which would have helped legitimize that film as a Best Picture winner).
In all, though, 1936 is a strong year. One of those years with several potential winners in most categories. That’s always a good year to have.
BEST PICTURE – 1936
And the nominees were…
Anthony Adverse (Warner Bros.)
Dodsworth (Goldwyn, United Artists)
The Great Ziegfeld (Metro-Goldwyn-Mayer)
Libeled Lady (Metro-Goldwyn-Mayer)
Mr. Deeds Goes to Town (Columbia)
Romeo and Juliet (Metro-Goldwyn-Mayer)
San Francisco (Metro-Goldwyn-Mayer)
The Story of Louis Pasteur (Warner Bros.)
A Tale of Two Cities (Metro-Goldwyn-Mayer)
Three Smart Girls (Universal) (more…)
Yeesh. What happened here? I can’t explain at all what happened in 1937. The best I can figure is that at this point, the Academy became self-conscious and was trying to do the “Academy” thing, but didn’t really have a choice there. That’s really all I can come up with because I don’t understand it at all.
It’s not that The Life of Emile Zola is a bad film — far from it — it’s just a weak Best Picture winner. It doesn’t hold up at all, and is now one of the worst ten Best Picture winners of all time because of that. The film also won Best Supporting Actress for Joseph Schildkraut (talked about here), which is a bad decision in execution, simply because Schildkraut is barely on screen in the film, but a good one in theory, since the role (Captain Dreyfus, of the Dreyfus Affair) is one that would win this award. Add to that the weak category and it does make some sense. Then, Best Actor was Spencer Tracy for Captains Courageous (talked about here), which I don’t understand but can accept, given the category. It’s really his win the year after this I don’t like. Then Best Actress was Luise Rainer again for The Good Earth (talked about here), another one where she sneaks in. It’s not a particularly good decision, and yet, I can see exactly how it happened. (Still don’t like it, though.) Best Supporting Actress was Alice Brady for In Old Chicago (talked about here), which makes sense, since she was a respected character actress and was playing Mrs. O’Leary (her cow was allegedly what started the great Chicago Fire), but I still feel like Andrea Leeds should have won there. And Best Director was Leo McCarey for The Awful Truth (talked about here), which was a great decision, only for the wrong film. If you’ve ever seen Make Way for Tomorrow, you know that’s the film he really won for this year. Either way, he deserved it.
So, overall — 1937 — probably one of the weakest years in Academy history, in terms of winners and nominees. It’s just not very memorable. Again, this is one of those years that’s memorable for what didn’t win instead of what won. That’s never a good situation to be in.
BEST PICTURE – 1937
And the nominees are…
The Awful Truth (Columbia)
Captains Courageous (Metro-Goldwyn-Mayer)
Dead End (Goldwyn, United Artists)
The Good Earth (Metro-Goldwyn-Mayer)
In Old Chicago (20th Century Fox)
The Life of Emile Zola (Warner Bros.)
Lost Horizon (Columbia)
One Hundred Men and a Girl (Universal)
Stage Door (RKO Radio)
A Star Is Born (Selznick International, United Artists) (more…)
This is another one of those years that I don’t much understand, that I try to explain by figuring the Academy went, “Well, it worked once before, let’s try it again!” It’s not that You Can’t Take It With You is a bad film — it’s terrific — it’s just that it’s a weak winner.
Frank Capra also winning Best Director for the film (talked about here), while it makes sense, is not a particularly good decision. Though it does fit with their Best Director choices over this first decade of the Oscars. Best Actor this year was Spencer Tracy for Boys Town (talked about here), which I consider the single worst Best Actor winning performance ever. He’s not the lead, and he barely does anything in the film. Him winning this is beyond laughable to me. Best Actress was Bette Davis for Jezebel (talked about here), which I think is also a poor decision, though an acceptable one. Fay Bainter won Best Supporting Actress for the film (talked about here) as well, which makes sense. She was nominated twice this year. And Best Supporting Actor was Walter Brennan for Kentucky (talked about here), which — it’s Walter Brennan, so it’s acceptable, but on the other hand, Basil Rathbone was so much better.
You can see why I consider this a year of, “Well, it worked the first time…” Capra, Tracy, Davis, Brennan — it’s almost like the Academy doubting themselves, having gone out on the tightrope and, midway through, looking down, and then holding onto where they are just because it’s safer there. I don’t care for this year much at all. It’s one of those things that holds the Academy back in my mind. Their reliance on safe things and fear of bold decisions.
BEST PICTURE – 1938
And the nominees were…
The Adventures of Robin Hood (Warner Bros.)
Alexander’s Ragtime Band (20th Century Fox)
Boys Town (Metro-Goldwyn-Mayer)
The Citadel (Metro-Goldwyn-Mayer)
Four Daughters (Warner Bros., First National)
Grand Illusion (R.A.O., World Pictures)
Jezebel (Warner Bros.)
Test Pilot (Metro-Goldwyn-Mayer)
You Can’t Take It With You (Columbia) (more…)
1939 is the golden year of cinema. The amount of great (not good, great) films that came out in 1939 has never been matched in any other year, ever.
And as an Oscar year, this is also a year that, in terms of achievement, will never be matched. Gone With the Wind is the perhaps the greatest cinematic achievement in history. This is, to me, the quintessential Best Picture winner and the best Best Picture of all time. It also won Best Director for Victor Fleming (talked about here), who was basically a figurehead for what was essentially a David O. Selznick film, Best Actress for Vivien Leigh (talked about here), and Best Supporting Actress for Hattie McDaniel (talked about here), all of which are perfect decisions. Best Actor was Robert Donat for Goodbye, Mr. Chips (talked about here), which, while he was great in the film, Jimmy Stewart really should have won for Mr. Smith Goes to Washington. And Best Supporting Actor was Thomas Mitchell for Stagecoach (talked bout here), which was an awesome decision, as much as I love Claude Rains and would have liked to see him win.
This is the finest year of American cinema, and there was a guaranteed winner. Really, what you do with this year is just marvel at how great everything is. Don’t think, just marvel.
BEST PICTURE – 1939
And the nominees were…
Dark Victory (Warner Bros.)
Gone With the Wind (Selznick, Metro-Goldwyn-Mayer)
Goodbye, Mr. Chips (Metro-Goldwyn-Mayer)
Love Affair (RKO Radio)
Mr. Smith Goes to Washington (Columbia)
Of Mice and Men (Roach, United Artists)
Stagecoach (United Artists)
The Wizard of Oz (Metro-Goldwyn-Mayer)
Wuthering Heights (Goldwyn, United Artists) (more…)
It’s hard to follow up 1939. But 1940 makes a real go of it. This is, while not in 1939 territory, an exceptionally strong Best Picture list. And the decisions they made this year were really strong too. Which is a bit of a shame, since it’s sandwiched between the strongest year in film history and the biggest Best Picture screw job in Academy history.
Rebecca wins Best Picture, which isn’t a great decision based on the category, but is lessened by the fact that the film that should have won Best Picture, The Grapes of Wrath, won Best Director for John Ford (talked about here). If John Ford didn’t win Best Director, then we’d be talking about how weak a choice Rebecca is (if some people don’t already do that). It’s a great film (and a Hitchcock, which is what leads people to defend it so vehemently), but it’s just not on the level The Grapes of Wrath is. And the split does help alleviate some of that tension (kind of the way the Shakespeare in Love/Saving Private Ryan split does), because at least then you can say, “Well, at least they recognized one was superior, but they just preferred the other.” So I can accept it. Jane Darwell also won Best Supporting Actress for The Grapes of Wrath (talked about here), which is awesome, since she is the “Ma” of cinema. Best Actor this year was Jimmy Stewart for The Philadelphia Story (talked about here), which is the most blatant makeup Oscar perhaps in the history of cinema. It’s terrible. He should have won the year before this. But, it gave him an Oscar, and for that, it’s okay. Even though he did beat both Charlie Chaplin and Henry Fonda, depriving Chaplin of an Oscar and delaying Fonda’s win for 41 years. Best Actress was Ginger Rogers for Kitty Foyle (talked about here), which I love as a decision. Joan Fontaine, to me, gave the best performance, but Rogers was likely to never have another shot at winning, so I support the win (plus Fontaine got her makeup Oscar the year after this anyway. For a Hitchcock again, no less). And Best Supporting Actor was (surprise, surprise), Walter Brennan, for the third time in five years, for The Westerner (talked about here). This was actually the strongest of the three performances he won for (in a terribly weak category too), so he deserved it.
Overall, 1940 is a strong year, and anything weak about it is actually alleviated in context. Jimmy Stewart shouldn’t have won, but he should have won the year before this, so it’s understandable. Ginger Rogers never had another shot at an Oscar, so the win makes sense. And Rebecca isn’t as good as The Grapes of Wrath, but Grapes of Wrath won Best Director. So, to me, 1940, while not being a standout year, is still a damn good one.
BEST PICTURE – 1940
And the nominees were…
All This, and Heaven Too (Warner Bros.)
Foreign Correspondent (Wanger, United Artists)
The Grapes of Wrath (20th Century Fox)
The Great Dictator (Chaplin, United Artists)
Kitty Foyle (RKO Radio)
The Letter (Warner Bros.)
The Long Voyage Home (Argosy, Wanger, United Artists)
Our Town (Lesser, United Artists)
The Philadelphia Story (Metro-Goldwyn-Mayer)
Rebecca (Selznick, United Artists) (more…)
I don’t have to say anything about 1941. We know Citizen Kane should have won. Let’s not dwell on that. (Though for a very quick history, it’s thought that the reason the film didn’t win is because William Randolph Hearst made huge threats against Hollywood simply because the film was even coming out. So it’s thought that people deliberately didn’t vote for it because they feared him. So if that’s the case, we can’t be angry at this decision. We can only understand it, and be disappointed.)
Since Kane wasn’t being voted for, How Green Was My Valley won Best Picture, Best Director for John Ford (talked about here), and Best Supporting Actor for Donald Crisp (talked about here). None should have happened, though the Crisp win is the closest to being okay (and it probably is. I just love Sydney Greenstreet in The Maltese Falcon). Best Actor was Gary Cooper for Sergeant York (talked about here), which, as an alternative to Orson Welles, it’s fine. Best Actress was Joan Fontaine for Suspicion (talked about here), which was a makeup Oscar for the year before this, which is okay (even though Greer Garson gave the best performance. Though she got her Oscar the year after this, so everything worked out). And Best Supporting Actress was Mary Astor for The Great Lie (talked about here), which seems insignificant, but if you realize she was also in The Maltese Falcon this year, it becomes a good decision (though for a forgettable film).
So, in all, when you ignore the controversy, this is a very serviceable year. But the controversy is going to outshine everything, so it’s pretty much always going to be considered a bad year.
BEST PICTURE – 1941
And the nominees were…
Blossoms in the Dust (Metro-Goldwyn-Mayer)
Citizen Kane (RKO Radio)
Here Comes Mr. Jordan (Columbia)
Hold Back the Dawn (Paramount)
How Green Was My Valley (20th Century Fox)
The Little Foxes (RKO Radio)
The Maltese Falcon (Warner Bros.)
One Foot in Heaven (Warner Bros.)
Sergeant York (Warner Bros.)
Suspicion (RKO Radio) (more…)
Things changed this year. Now America is in the war. So you have to shift your thinking to taking that into account. The war was a huge deal. Patriotism (and to an extent propaganda) was a big thing. And that’s ultimately what helps this year make sense.
Mrs. Miniver is a good film, but more importantly — it’s a good war film. It promotes the values of the family sticking together during war time and doing their part to help out their country, despite hardships that come of it. A film like this makes sense for 1942. It also won Best Director for William Wyler (talked about here), Best Actress for Greer Garson (talked about here), and Best Supporting Actress for Teresa Wright (talked about here). All were fine decisions, ranging from simply okay to really great. Best Actor was James Cagney for Yankee Doodle Dandy (talked about here), which was an amazing decision. And Best Supporting Actor was Van Heflin for Johnny Eager (talked about here), which was a pretty insignificant decision in one of the weakest Best Supporting Actor categories of all time.
So, overall, while I’m sure we all prefer a different film for Best Picture, 1942 is a solid year. There’s really not much else to say. There’s a war on, Fink.
BEST PICTURE – 1942
And the nominees were…
49th Parallel (GFD, Columbia)
Kings Row (Warner Bros.)
The Magnificent Ambersons (Mercury, RKO Radio)
Mrs. Miniver (Metro-Goldwyn-Mayer)
The Pied Piper (20th Century Fox)
The Pride of the Yankees (Goldwyn, RKO Radio)
Random Harvest (Metro-Goldwyn-Mayer)
The Talk of the Town (Columbia)
Wake Island (Paramount)
Yankee Doodle Dandy (Warner Bros.) (more…)
This is the last year of ten nominees. I never mentioned the number of the nominees yet. The way it had been until this point was: three the first year, no official nominees the second, then five from 1930-1932, then they went to ten from 1933 until this year (with the exception of 1934 and 1935, the two “write-in” years, which had 12 nominees). After this year, they went strictly to five, which lasted until 2009.
Outside of that, the great thing about this year is that it’s the year of Casablanca, which makes it quite easy to discuss. Two things to note about the film: first, while the film did premiere in November of 1942, it didn’t go into wide release until early 1943, which is why it counted amongst the films of 1943. (It’s basically the same as a film getting that late December limited release nowadays to qualify for Oscars, but not getting a wide release until January, only with different rules since it was 1943.) The other thing is that: while the film is a classic and one of the best films ever made, it also is a war film. The story is about Bogart, a neutral man, choosing a side in a war. So it does actually fit with the times. Oh, and, aside from Best Picture, Michael Curtiz won Best Director for the film (talked about here). Nice to see him finally get his due.
Other winners this year included Paul Lukas as Best Actor for Watch on the Rhine (talked about here), which is one of the worst Best Actor decisions of all time (it’s so bad), Jennifer Jones as Best Actress for The Song of Bernadette (talked about here), which was deserved (since Ingrid Bergman was nominated for the wrong film), Charles Coburn as Best Supporting Actor for The More the Merrier (talked about here), which, despite my love for Claude Rains as Louis Renault, is a good decision, and Katina Paxinou as Best Supporting Actress for For Whom the Bell Tolls (talked about here), which — meh. So, overall, many of the individual categories are either forgettable or not particularly memorable, yet the year remains strong simply because of the Best Picture choice. Which again shows how a good or bad Best Picture choice can make or break a year.
BEST PICTURE – 1943
And the nominees were…
Casablanca (Warner Bros.)
For Whom the Bell Tolls (Paramount)
Heaven Can Wait (20th Century Fox)
The Human Comedy (Metro-Goldwyn-Mayer)
In Which We Serve (United Artists)
Madame Curie (Metro-Goldwyn-Mayer)
The More the Merrier (Columbia)
The Ox-Bow Incident (20th Century Fox)
The Song of Bernadette (20th Century Fox)
Watch on the Rhine (Warner Bros.) (more…)