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Posts tagged “1932-1933

The Oscar Quest: My Oscar Nominations — Best Director (1927/1928-1949)

This is part of a series of articles where I’m putting forth my opinions about what I’d nominate in all of the Oscar Quest categories (Picture, Director, Actor, Actress, Supporting Actor and Supporting Actress). Normally I take the categories as they are, but I thought it would be fun to figure out what I’d vote for if I had a ballot each year. Keep in mind, this is only for NOMINATIONS and nothing else.

My only problem with this is that I knew if I did it, too many people, were they doing the same thing, would put on movies that just didn’t belong on an Oscar ballot. (I would too, in some cases. We just like what we like.) My problem was that people would take this exercise as an opportunity to really just go off the rails with stuff (which, if you read through all these articles, you’ll see me call people out for it, since I know exactly which films and which performances people would put on). So my way around this was by creating what I call a “Compromise List” — after I tell you what was actually nominated and what I’d put on my ballot, I’m making a list whereby I try to make everyone happy and keep it mostly close to what would be there, Academy-wise. You’ll see. My lists usually end up being better and not crazy.

The things to take into account with the performance categories — I can only nominate what I’ve seen. So me not seeing something will be a big reason why some stuff doesn’t appear. And, as always, I tell people not to bother me with one random person in one random category, since I have everything to think about. If you want to say something, wait until you’ve seen all the films/tried this yourself before you do it. And I don’t care about foreign performances, for the most part. There’s a long and complicated answer there, but — I don’t. And the big rule for anyone doing this — if someone won a category, YOU CAN’T LEAVE THEM OFF THE COMPROMISE LIST. Can’t do it.

Otherwise — here’s the next set of categories. (more…)

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The Oscar Quest: My Oscar Nominations — Best Actress (1927/1928-1949)

This is part of a series of articles where I’m putting forth my opinions about what I’d nominate in all of the Oscar Quest categories (Picture, Director, Actor, Actress, Supporting Actor and Supporting Actress). Normally I take the categories as they are, but I thought it would be fun to figure out what I’d vote for if I had a ballot each year. Keep in mind, this is only for NOMINATIONS and nothing else.

My only problem with this is that I knew if I did it, too many people, were they doing the same thing, would put on movies that just didn’t belong on an Oscar ballot. (I would too, in some cases. We just like what we like.) My problem was that people would take this exercise as an opportunity to really just go off the rails with stuff (which, if you read through all these articles, you’ll see me call people out for it, since I know exactly which films and which performances people would put on). So my way around this was by creating what I call a “Compromise List” — after I tell you what was actually nominated and what I’d put on my ballot, I’m making a list whereby I try to make everyone happy and keep it mostly close to what would be there, Academy-wise. You’ll see. My lists usually end up being better and not crazy.

The things to take into account with the performance categories — I can only nominate what I’ve seen. So me not seeing something will be a big reason why some stuff doesn’t appear. And, as always, I tell people not to bother me with one random person in one random category, since I have everything to think about. If you want to say something, wait until you’ve seen all the films/tried this yourself before you do it. And I don’t care about foreign performances, for the most part. There’s a long and complicated answer there, but — I don’t. And the big rule for anyone doing this — if someone won a category, YOU CAN’T LEAVE THEM OFF THE COMPROMISE LIST. Can’t do it.

Otherwise — here’s the next set of categories. (more…)


The Oscar Quest: My Oscar Nominations — Best Actor (1927/1928-1949)

This is part of a series of articles where I’m putting forth my opinions about what I’d nominate in all of the Oscar Quest categories (Picture, Director, Actor, Actress, Supporting Actor and Supporting Actress). Normally I take the categories as they are, but I thought it would be fun to figure out what I’d vote for if I had a ballot each year. Keep in mind, this is only for NOMINATIONS and nothing else.

My only problem with this is that I knew if I did it, too many people, were they doing the same thing, would put on movies that just didn’t belong on an Oscar ballot. (I would too, in some cases. We just like what we like.) My problem was that people would take this exercise as an opportunity to really just go off the rails with stuff (which, if you read through all these articles, you’ll see me call people out for it, since I know exactly which films and which performances people would put on). So my way around this was by creating what I call a “Compromise List” — after I tell you what was actually nominated and what I’d put on my ballot, I’m making a list whereby I try to make everyone happy and keep it mostly close to what would be there, Academy-wise. You’ll see. My lists usually end up being better and not crazy.

The things to take into account with the performance categories — I can only nominate what I’ve seen. So me not seeing something will be a big reason why some stuff doesn’t appear. And, as always, I tell people not to bother me with one random person in one random category, since I have everything to think about. If you want to say something, wait until you’ve seen all the films/tried this yourself before you do it. And I don’t care about foreign performances, for the most part. There’s a long and complicated answer there, but — I don’t. And the big rule for anyone doing this — if someone won a category, YOU CAN’T LEAVE THEM OFF THE COMPROMISE LIST. Can’t do it.

Otherwise — here’s the next set of categories. (more…)


The Oscar Quest: My Oscar Nominations — Best Picture (1927/1928-1949)

To run down the intro quickly — this is a series of articles about what I would nominate in every single Oscar Quest category if I had a ballot. I always felt I should do them, but didn’t want to pull that shit everyone pulls of, “Here’s what I’d nominate,” even though it’s all the same five films they add on and they haven’t even seen half the stuff that was nominated. I know my stuff’s legit, because I’ve seen all the films, but I refused to start this discussion unless I was going to do it with the ability to tell people how to do it the right way, since unless you keep them honest, it’s fucking chaos.

So I decided to, along with picking what I’d vote for, create what I’m calling a Compromise List. The Compromise List is — aside from my personal nominations (which on the whole are pretty close to what would fit the typical notion of “Oscar,” since I’ve seen everything and know what is and what isn’t an “Oscar” movie and actually respect the precedents in place even though I don’t always agree with them enough to not be like, “I vote for Star Trek!”), a list of films that are basically a mix of my nominees and their nominees that I think everyone could live with. The idea is to make a list that works for everyone that’s great, and to cut out all the shit that so clearly shouldn’t be there.

The things to keep in mind: 1) if a category has five nominees, I’m only nominating five films. 2) The lists are only based on what I’ve seen. 3) Don’t bother me with your opinion unless you’re gonna go the full nine and do every single year. 4) If you’re going to attempt something like this — be honest. Don’t get too subjective, and DO NOT take off a film you haven’t seen just to put on a film you have seen. And most importantly, 5) YOU CANNOT take off a Best Picture winner. You can not vote for it on your list, but on your compromise list, the Best Picture winner MUST BE THERE. If it won, you have to include it. No exceptions.

Okay, let’s get to the next set of Best Picture years: (more…)


The Oscar Quest: Best Picture – 1932-1933

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)

Cavalcade (Fox)

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…)


The Oscar Quest: Best Actor – 1932-1933

Going old school today. Haven’t done one of these in a while. I like when we do these. Because I know almost no one has seen these films and I can seem like an authority on them. And because, I know there are less people who will complain about my decision because of that.  Life is better when the possibility for encountering stupid assholes is lower.

Anyway, 1932-1933 is the last year of the double years. After this is just 1934. This is also the last year I consider a “foundation” year for the Academy. That is, after this, you can start complaining about their decisions. Here, they’re still developing their identity. It’s like a kid. The 1927-1933 years are the pre-18 years. If the kid sucks, it’s bad parenting. After 18, though, if the kid’s an asshole, the kid’s an asshole.

Best Picture went to Cavalcade, which is historically considered one of the weakest Best Picture decisions. I personally don’t get it myself. Frank Lloyd also wins Best Director for the film (which I talked about here), which, by default, has to be a good decision. Then Best Actress was Katharine Hepburn for Morning Glory (which I talked about here), which is also one of those by-default good decisions, because there were only three nominees, and she was the only one that was gonna win. And, since there were no Supporting categories this year, that’s it. Isn’t that nice and simple? I should also state, before we get into it, I don’t like this category. The category itself and the decision. Let me explain:

BEST ACTOR – 1932-1933

And the nominees were…

Leslie Howard, Berkeley Square

Charles Laughton, The Private Life of Henry VIII

Paul Muni, I Am a Fugitive from a Chain Gang (more…)


The Oscar Quest: Rankings — Best Director

Here is my subset of The Oscar Quest Rankings, specifically for Best Actor. Just in case the one big article is too much for you and you just want one specific category.

(Underlined means that’s what won. An asterisk (*) means that’s what I’d have voted for. Anything in RED means I haven’t seen the film yet.)


Best Director

2013 – 1. Alfonso Cuaron, Gravity *

2. Steve McQueen, 12 Years a Slave

3. Martin Scorsese, The Wolf of Wall Street

4. David O. Russell, American Hustle

5. Alexander Payne, Nebraska

2012 – 1. Ang Lee, Life of Pi *

2. Steven Spielberg, Lincoln

3. David O. Russell, Silver Linings Playbook

4. Benh Zeitlin, Beasts of the Southern Wild

5. Michael Haneke, Amour

2011  1. Martin Scorsese, Hugo *

2. Michel Hazanavicius, The Artist

3. Terrence Malick, The Tree of Life

4. Woody Allen, Midnight in Paris

5. Alexander Payne, The Descendants (more…)