The Oscar Quest: Best Actress – 1994
Well, this is definitely one of the more contentious years in recent memory. I guess that’s standard when three of your Best Picture nominees are Forrest Gump, Pulp Fiction and The Shawshank Redemption. Everyone’s gonna have an opinion on that. I won’t get into it here, past, Forrest Gump wins Best Picture and Best Director for Robert Zemeckis. Tom Hanks also wins Best Actor for the film. Whatever your opinions are about the film and Zemeckis winning, you can’t really deny that Hanks did a great job with the role.
Then, Best Supporting Actor was Martin Landau for Ed Wood, which was a good decision, but also a tough one, since his category was so tough (it also included Gary Sinise as Lieutenant Dan and Samuel L. Jackson as Jules Winnfield). Best Supporting Actress was Diane Wiest for Bullets over Broadway, which I don’t like (as I said here). That’s pretty much 1994. My attempts to not discuss my opinions on the major awards outside of the article I write for it is keeping this intro bit really short.
As for this category — it’s pretty weak. That’s not to say there aren’t good films or good performances on it. It’s just — the person who really should have won the category had just won two Oscars within six years of this. Were they really gonna give her a third? Plus, this was a good chance to award Jessica Lange, who was kind of overdue by this point. So that’s kind of where we are with this one. What were they gonna do?
BEST ACTRESS – 1994
And the nominees were…
Jodie Foster, Nell
Jessica Lange, Blue Sky
Miranda Richardson, Tom & iVv
Winona Ryder, Little Women
Susan Sarandon, The Client (more…)
The Oscar Quest: Best Actress – 1985
Bullshit alert. 1985 is one of the worst years ever for the Academy Awards. If you ever wanted to get a first hand look at just how racist the Academy was/is, just look at this year. (And also, this year. But that’s a story for another day.) The Color Purple is clearly the best film up for Best Picture. It’s not even a question. The film sweeps the Golden Globes and most other awards. Then, for the Oscars, Steven Spielberg isn’t even nominated for Best Director (despite winning the DGA award), and the film is shut out from 11 Oscars in favor of Out of Africa, a film that’s basically about Meryl Streep having an extra-marital affair with Robert Redford and also having a farm in Africa.
As for the rest of the year, Sydney Pollack wins Best Director for Africa, which is sort of okay since he’s a great director, but, Akira Kurosawa was nominated too. Out of those two, which would you pick? And then Best Actor was William Hurt for Kiss of the Spider Woman, which was actually a great decision. Best Supporting Actor was Don Ameche for Cocoon, which was cool. Nice veteran Oscar. And Best Supporting Actress was Anjelica Huston for Prizzi’s Honor, which, all respect for her aside, was a terrible decision. There were two better choices there.
And then there’s this category, which is just so fucking terrible it’s beyond words. Whoopi Goldberg so clearly deserved this award it’s sickening. And they give the Oscar to Geraldine Page for a film that’s basically Baby’s Day Out, but if the baby were an old woman. I’m exaggerating, but I’m not that far off. What the fuck, Academy? Does your racism know no bounds? (Actually, don’t answer that. I don’t want to know.)
BEST ACTRESS – 1985
And the nominees were…
Anne Bancroft, Agnes of God
Whoopi Goldberg, The Color Purple
Jessica Lange, Sweet Dreams
Geraldine Page, The Trip to Bountiful
Meryl Streep, Out of Africa (more…)
The Oscar Quest: Best Actress – 1984
I hate 1984. It’s just so boring. And so weak. Not that they didn’t make a good decision. Amadeus was clearly the best film of the year and should have won Best Picture. Milos Forman also winning Best Director (talked about here) was the only good choice they could have made, and F. Murray Abraham totally deserved Best Actor for the film (as did Tom Hulce. Too bad they didn’t tie. That would have been awesome).
But outside of those awards, Best Supporting Actor going to Haing S. Ngor for The Killing Fields I don’t like (explained why here), and Best Supporting Actress going to Peggy Ashcroft for A Passage to India makes a little sense, but it’s just boring. The film and the decision. And then there’s this category. I don’t know what it is about this year, but they really liked “strong woman helps keep farm afloat” stories. Three of them got nominated in this category. Three. And the one that won had the woman doing it without a husband. She had a black man and a blind man instead. Technically I guess that does make it a “stronger” performance.
But, wow, do I disagree with three nominees here. At least three. Possibly even all five. But I can accept two. I can accept the Sally Field and Judy Davis nominations. The others just felt like filler. Stature noms. “Who are we going to nominate?” “Well, we like Sissy Spacek and Jessica Lange. Let’s go with them.” (Don’t even get me started on the Redgrave nomination.) So, let’s see if we can find any alternatives.
I’d say the actress who played Mozart’s wife in Amadeus, but that’s supporting at best. Would the Academy nominate Frances McDormand for Blood Simple? I doubt it. I liked Micki + Maude a lot, but that’s a comedy. Most people would say The Terminator, but I know the Academy. That would never happen. Uhh — Apollonia in Purple Rain? Wow, what the fuck, 1984? You sucked for good female performances.
BEST ACTRESS – 1984
And the nominees were…
Judy Davis, A Passage to India
Sally Field, Places in the Heart
Jessica Lange, Country
Vanessa Redgrave, The Bostonians
Sissy Spacek, The River (more…)
The Oscar Quest: Best Actress – 1979
I love 1979 and hate 1979 at the same time. One of the greatest films ever made, Apocalypse Now, is nominated for Best Picture, as is one of my five favorite films of all time, All That Jazz. And neither wins Best Picture. Now, Kramer vs. Kramer — I think it’s a good film. I think it’s a great film, even. But I do not think this film should have won Best Picture at all. I think that was a terrible decision. And I might have been able to live with it had they not also given Best Director to Robert Benton. Did they see the directorial efforts of those other two films?
And then, Best Actor this year was Dustin Hoffman for Kramer, which is absolutely perfect. He was way overdue by this point, and gave the best performance of his career. It’s a shame he beat Roy Scheider and Peter Sellers, but it’s fine. Then Meryl Streep wins Best Supporting Actress as the other Kramer, which is one of the best decisions ever made in that category (whenever Meryl wins an Oscar, it’s pretty much automatically one of the best decisions in that category). Then, Best Supporting Actor was Melvyn Douglas for Being There, which, if you didn’t know, was the WORST DECISION OF ALL TIME IN THAT CATEGORY. Worst. Ever. Know why? He beat Robert Duvall for Apocalypse Now. I’ll ask you, dear reader — which performance do you remember? Charlie don’t surf, but it seems he votes in the Academy.
So that’s 1979. I love it, because great films are involved, and because, while I know they made the wrong decision, Kramer vs. Kramer is a better film than a lot of other films that have won Best Picture (looking at you, Ordinary People). And yet — I really only agree with three of the six decisions this year, and two of them I consider to be two of the worst all time. So this year is a big sore spot for me.
BEST ACTRESS – 1979
And the nominees were…
Jill Clayburgh, Starting Over
Sally Field, Norma Rae
Jane Fonda, The China Syndrome
Marsha Mason, Chapter Two
Bette Midler, The Rose (more…)
The Oscar Quest: Best Actress – 1968
History was made here. You hear that? History, I tellz ya! But before we get into that, let’s recap the year.
Oliver! wins Best Picture, the best choice among a weak set of films. Almost all of them are good films, but none is really a “Best Picture.” Carol Reed won Best Director for the film, which, is a good decision based on the fact that him not winning for The Third Man is the worst Best Director snub of all time, according to me. Which, humorously enough, makes this the second biggest Best Director snub. Reed winning his well-deserved Oscar deprived Stanley Kubrick of his well-deserved Oscar for 2001: A Space Odyssey. It’s oddly poetic.
Cliff Robertson wins Best Actor for Charly, which is a good film and a decent performance, but not one that should have won, especially with Peter O’Toole never having won an Oscar (for amazing work in Lawrence of Arabia and Becket before this) and being so fucking great in The Lion in Winter. The choice is baffling. Then Best Supporting Actor was Jack Albertson for The Subject was Roses (which I talked about here), and Best Supporting Actress (which I talked about here) was Ruth Gordon for Rosemary’s Baby.
As for this category, it’s the only exact tie in Academy history. (The other acting tie was within 3 votes.) And since the two that tied were the #1 and #2 in the category, the only side effect was an extra Best Actress winner and Katharine Hepburn eventually having four Oscars. Which, as I’ve discovered, isn’t so bad. None of her wins is egregious. Even here, she managed to tie with the person who should have won.
BEST ACTRESS – 1968
And the nominees were…
Katharine Hepburn, The Lion in Winter
Patricia Neal, The Subject Was Roses
Vanessa Redgrave, Isadora
Barbra Streisand, Funny Girl
Joanne Woodward, Rachel, Rachel (more…)
The Oscar Quest: Best Actress – 1960
This is one of the more infamous categories in Academy history. It’s widely regarded that the only reason Elizabeth Taylor won here was because she was going through a serious health scare at the time (not uncommon for her, sadly) and had a tracheotomy done. And the Academy, fearing that she’d die, gave this to her as sort of a tribute in case she’d never have the chance to win one again. It’s possible she’d have won anyway, but when even Shirley MacLaine publicly talks shit about the decision (everyone else does too), I think we can safely say that’s why she won. I felt we needed to get that out of the way now. It’s pretty open and shut, how this category should have gone.
As for the rest of the year, The Apartment wins Best Picture, a decision I love, Billy Wilder wins Best Director, a decision I like because I love the film, but don’t like based on who he beat (Hitchcock for Psycho. I talked about it here). Burt Lancaster wins his well-deserved Best Actor award for Elmer Gantry, and Shirley Jones also wins Best Supporting Actress for the film (which, is kind of okay, but, I’d have went with Janet Leigh here. But that’s just me). And Peter Ustinov wins Best Supporting Actor for Spartacus, which, considering he’s one of the premier character actors of all time (and was also in The Sundowners this year), this was without a doubt a great decision.
As for this category, it was always going to come down to Shirley MacLaine and Elizabeth Taylor. They were clearly the two best. Liz’s performance may have been a bit — much — maybe, for a win, but, she was good, so her winning isn’t that terrible a decision. And since Shirley MacLaine eventually got her Oscar, this isn’t as bad a decision as it could have been. So, ultimately, things worked out. But I think we can all agree that Shirley MacLaine should have won here. But, still, isn’t Liz just gorgeous in her movie?
BEST ACTRESS – 1960
And the nominees were…
Greer Garson, Sunrise at Campobello
Deborah Kerr, The Sundowners
Shirley MacLaine, The Apartment
Melina Mercouri, Never on Sunday
Elizabeth Taylor, BUtterfield 8 (more…)
The Oscar Quest: Best Actress – 1955
I actually really like 1955 as a year, even though most people would probably see this as a blank year for the Academy. The five Best Picture choices were a pretty weak set overall (at least two of the choices probably shouldn’t have even been nominated), and, while I think they made the best decision, their decision was not really one that would stand out among the other films that have won in the category.
Marty wins Best Picture, which I think was the best decision based on the nominees. It’s a film I love a lot. But I’m under no illusions that this film would ever win outside of a year like this. Not that I care. Delbert Mann winning Best Director for the film (which I talked about here), is a decision I don’t think was totally necessary, but I understand it. So I guess that’s okay. Ernest Borgnine winning Best Actor this year (which I talked about here) is also a decision that I like, but only because my first choice, Frank Sinatra, already had an Oscar, So it kind of worked out in the end. Best Supporting Actor was Jack Lemmon for Mister Roberts, which I think is a great decision, and Best Supporting Actress was Jo Van Fleet for East of Eden, which, I haven’t fully made up my mind yet (but I’m about 95% sure I’m gonna go another way).
And then we have this category. This category was really only between two people, and, while I can understand why Anna Magnani won here — when you watch the performance, you can see why she would win — I still don’t get why they wouldn’t give it to Susan Hayward here. She’s been nominated a bunch of times by now, hasn’t won, is someone they’re clearly looking to give an Oscar, and she’s playing a type of character she excels at — the pitiful drunk. That’s her character. Plus, this is the first time she’s really nailed it and is really worth voting for. And you don’t give it to her? I don’t get it.
BEST ACTRESS – 1955
And the nominees were…
Susan Hayward, I’ll Cry Tomorrow
Katharine Hepburn, Summertime
Jennifer Jones, Love is a Many-Splendored Thing
Anna Magnani, The Rose Tattoo
Eleanor Parker, I’ll Cry Tomorrow (more…)
The Oscar Quest: Best Actress – 1949
1949 is a pretty solid year. Good, not great. I think I’ve covered that in the categories I’ve done before. All the King’s Men wins Best Picture (probably the Best Choice of the bunch, but, for me, it was four of five 4-star films and no real 5-star film. There were three legit choices here), Best Actor for Broderick Crawford (which I talked about here) and Best Supporting Actress for Mercedes McCambridge. I understand the Best Picture, and completely agree with both of the acting decisions. Those were great decisions.
Then Best Director was Joseph L. Mankiewicz for A Letter to Three Wives, a decision that just baffles the shit out of me, which I talked about here. Then Best Supporting Actor was Dean Jagger for Twelve O’Clock High, which I just don’t get. At all. Ralph Richardson was clearly the vote there. So, in all, the year is pretty average. I agree with three of the six decisions, and can be swayed to liking a fourth. The other two make no sense to me, but, three of six leaning to four makes for a solid year. So that’s good.
Then there’s this category. What a weak category this is. I need to look for — actually, I kind of don’t. It’s really only two terrible nominees. And I’d gladly take one of the other two off if it meant a stronger set of nominees. Sacrifice one for the good of the many. But, just glancing at this year, I can see there weren’t any other performances, so it’s just the product of a weak year. I should feel lucky they managed three decent nominees. Regardless though — this one’s just a runaway. It’s not even close as to who deserved to win this.
BEST ACTRESS – 1949
And the nominees were…
Jeanne Crain, Pinky
Olivia de Havilland, The Heiress
Susan Hayward, My Foolish Heart
Deborah Kerr, Edward, My Son
Loretta Young, Come to the Stable (more…)
The Oscar Quest: Best Actress – 1938
1938 is a year I will always consider weak, just because the Academy had an opportunity to grow past what they’d established already, and instead chose the safe route and give Best Picture to a film that too easy a choice. You Can’t Take It With You wins, which is an enjoyable film, but really not a step forward for the Academy. It’s not 1934 anymore. Frank Capra also won Best Director for it (talked about here).
The Best Pictures until this point were: two war epics, two musicals, a western, an ensemble prestige picture, a romantic comedy and three dramas (family, high seas/historical, and historical/biographical). They took a step in the right direction with It Happened One Night in 1934. Mutiny on the Bounty in ’35 wasn’t a bad choice. (I’d have gone for The Informer, but that’s me.) The Great Ziegfeld in ’36 is an easy winner. It’s big, cinematic, and everything that a Best Picture should be. After that, it seemed like they didn’t know what to do. The Life of Emile Zola was a weak choice, and seemed like them trying to continue the trend of historical dramas. And here, again it seems they didn’t know what to do, so they went back and tried to repeat what worked earlier. A lot of the decisions before the war ended seem that way. Apart from the easy choice films like Gone With the Wind, The Best Years of Our Lives — even Mrs. Miniver, they really don’t seem to know what to do, so they go back to earlier choices. So that’s why I don’t really like this year as a whole. Because a year starts with its Best Picture.
As for the rest of the year, Spencer Tracy wins his second consecutive Best Actor for Boys Town (which I talked about here), a performance I consider to be the single worst in the history of the Best Actor category, as well as the second or third worst decision all time in the category. It’s pretty horrendous. Then Best Supporting Actor was — you guessed it — Walter Brennan, for Kentucky, winning his second of three in five years. And Best Supporting Actress was Fay Bainter, for Jezebel, which is by default a good decision because she was nominated for Best Actress this year, and was really good there as well. So, in all, I probably only like two of the six decisions. And this category, I just disagree with completely. The only thing that I like about it is that this basically means that Scarlett O’Hara won two Oscars. That’s pretty cool.
BEST ACTRESS – 1938
And the nominees were…
Fay Bainter, White Banners
Bette Davis, Jezebel
Wendy Hiller, Pygmalion
Norma Shearer, Marie Antoinette
Margaret Sullavan, Three Comrades (more…)
The Oscar Quest: Best Actress – 1934
1934. Wonderful year. This goes twofold for me, since my favorite film of all time was made this year. Every time I talk about this year, I make sure to note that there’s no way I can be subjective when my favorite film is involved. I just can’t. That’s the one place I refuse to do it. Fortunately, The Thin Man isn’t nominated here, so it won’t affect this category at all. Recapping the year is easy. It Happened One Night won everything. Picture, Director (talked about here), Actor (here), and, yes, Actress (writing too. First big five winner in history). But of all the categories of 1934, this one is the most interesting. For several reasons. The first is that this is one of the few categories for which the Academy announced the order of finish. Claudette Colbert won, Norma Shearer finished 2nd, and Bette Davis finished 3rd (QED, Grace Moore was last). The most important part about all this, though, is the Bette Davis nomination. Let me explain.
Bette Davis begged out of her Warner Bros. contract to make this film. They agreed because they assumed she was going to fail. But the film actually ended up being her breakthrough. And come Oscar time, when she got nomination buzz, Warners spitefully told people not to vote for her. And since the voting system wasn’t as, shall we say, objective, as it is now (votes were tabulated by the heads of the Academy. Warners was one. No bias at all, I’m sure), she wasn’t nominated. And her supporters, outraged, petitioned the Academy for a write-in vote. The outcry was large enough (probably because at that time the Oscars were small enough) that it actually worked. The Academy caved (kind of like when they caved in 2008 and started the 10 nominees), and this became one of only two years to ever feature a write-in vote (that counted).
It didn’t work out for Bette Davis (3rd), but the year after this, Hal Mohr actually won Best Cinematography for A Midsummer Night’s Dream without being nominated (which is great. He was the best there). But, this decision was strong enough to get several things to happen. First, it got the write-in ballot for two years. Then it got the Academy to change its voting practices. They handed over the entire voting and counting process to PriceWaterhouse (who still does it). And it also created that Oscar groundswell we know so well, especially when it comes to Best Actress, that got Bette Davis to win a slam dunk Oscar (considered a makeup Oscar) the year after this, for Dangerous. I’ll talk about that when I get to it, but for now, can you see how important 1934 is (even without The Thin Man)?
BEST ACTRESS – 1934
And the nominees were…
Claudette Colbert, It Happened One Night
Bette Davis, Of Human Bondage (write-in)
Grace Moore, One Night of Love
Norma Shearer, The Barretts of Wimpole Street (more…)
The Oscar Quest: Best Actress – 1927-1928
1927-1928. The first Best Actress category ever. I’m excited.
The rest of this year is very — broad, shall we say. The Academy hadn’t honed their categories yet. For example, Best Picture was split into two separate categories. The first was “Outstanding Picture, Production,” which went to Wings, and the second was for “Unique or Artistic Production,” which went to Sunrise: A Song of Two Humans. Generally, Wings is regarded as the first Best Picture winner, which, seems strange. It should really be both films. However, the fact that they went with Wings over Sunrise is very telling. The went with “outstanding” production over “artistic” production. Perfect for explaining many of the decisions made over the years.
Similarly, Best Director was split into two separate categories, one for “Dramatic,” which went to Frank Borzage, for Seventh Heaven, and one for “Comedy,” which went to Lewis Milestone for Two Arabian Knights. And then, Best Actor went to Emil Jannings, considered the best dramatic silent film actor, for The Last Command as well as The Way of All Flesh, which is a lost film.
So that’s the first year of the Academy Awards. In all honesty, I think, in every category, the best possible decision was made. Especially this one. They did the right thing by nominating Janet Gaynor for all three of the films she made this year. Because, just by watching one of them, you can see why she won this. She was just incredible. You’re in for a real treat with her films.
BEST ACTRESS – 1927-1928
And the nominees were…
Louise Dresser, A Ship Comes In
Janet Gaynor, Seventh Heaven, Street Angel & Sunrise: A Song of Two Humans
Gloria Swanson, Sadie Thompson (more…)
The Oscar Quest: Best Supporting Actor – 1968
1968 is a weak year. In all. Mostly because none of the Best Picture choices were particularly strong. Oliver! was the best choice they had there. Even if they’d have nominated 2001: A Space Odyssey like I wanted them to, I know they’d have never voted for it. The Academy isn’t cool like that. They don’t like weird shit.
Carol Reed wins Best Director for Olliver!, a good decision on its own (he got so royally fucked for The Third Man), but, Kubrick was really the one who should have won there. Best Actor was Cliff Robertson for Charly, which was a bad decision, because he beat Peter O’Toole, who really should have won that category and got the Oscar he so richly deserves. Then Best Actress was a tie between Katharine Hepburn for The Lion in Winter and Barbra Streisand for Funny Girl. Streisand should have won there, so even though there’s a tie, it’s a good decision. Best Supporting Actress was Ruth Gordon for Rosemary’s Baby, which is a good decision, even though I’d have gone another way.
So that’s 1968. Pretty ho hum in general. Nothing particularly great. And then there’s this category, which also seems by the numbers. It doesn’t help to make this year any interesting.
BEST SUPPORTING ACTOR – 1968
And the nominees were…
Jack Albertson, The Subject Was Roses
Seymour Cassel, Faces
Daniel Massey, Star!
Jack Wild, Oliver!
Gene Wilder, The Producers (more…)
