kingrat

All of us who are enjoying Bogie's best performance year by year thread are having to make some judgment calls about which performances are leads and which are supporting. These are my musings about some of the choices ahead Reviewing the thirty years of the studio era from the year that the Supporting Actor/Actress category was instituted, I’m finding an average of one performance a year which is arguably in the wrong category. In the early years, no star wanted to be listed in the supporting category, nor did the studios want them there. It has been pointed out that after Edmond O’Brien won an Oscar for best supporting actor, he was never again offered a leading role (granted, he was getting leads in B movies, but nonetheless leads). Obviously, things are different these days. 1936-1938: We seem to agree that Spencer Tracy’s role in SAN FRANCISCO is not a lead. Filmlover has argued that neither are his roles in CAPTAINS COURAGEOUS and BOYS TOWN. Luise Rainer has the largest female role in THE GREAT ZIEGFELD, but it can be argued that this is William Powell’s film, with everyone else in supporting roles. MGM saw Tracy and Rainer as stars, actual or potential. 1939: Brian Aherne as Maximilian probably has more screen time than Paul Muni in the title role of JUAREZ. I would classify this as a lead. 1940: James Stewart doesn’t get the leading lady in THE PHILADELPHIA STORY, which is one argument that perhaps he has a supporting role. The argument could also be made that he has enough screen time to be a leading actor. On the other hand, Walter Brennan in THE WESTERNER probably has a large enough role as Gary Cooper’s antagonist that he should be considered a lead. The dimness of Cooper’s female love interest further skews the film into more of a man vs. man showdown. 1942: Some critics’ groups considered Agnes Moorehead’s work in THE MAGNIFICENT AMBERSONS in their Best Actress category. 1943: SO PROUDLY WE HAIL is an ensemble drama, with Claudette Colbert as the star, but I am by no means sure that Paulette Goddard doesn’t also have a starring role, whereas Veronica Lake would be in the supporting category. 1944: Barry Fitzgerald was nominated in both the starring and supporting categories for GOING MY WAY, and he won the New York Film Critics prize as Best Actor. They did not have a supporting actor award at that time. For me the question is purely academic, because I can’t stomach Fitzgerald. Ethel Barrymore won Best Supporting Actress for NONE BUT THE LONELY HEART, but she had second billing and is clearly the second most important character in the film. I would consider this a lead. 1946: Myrna Loy wasn’t nominated for THE BEST YEARS OF OUR LIVES, but she should have been, and in the supporting category, despite her top billing. In my view, Fredric March, Dana Andrews, and Teresa Wright have the starring roles, and Harold Russell also has more screen time than Loy. In THE YEARLING Jane Wyman has much less screen time than Gregory Peck or Claude Jarman, and this could also be considered a supporting role. Wyman wanted to be seen as a star, of course. 1948: Is Ophelia a primary or secondary role in HAMLET? I don’t really object to Jean Simmons being put in the secondary category, and yet this doesn’t quite seem right. 1950: Anne Baxter chose to compete in the lead rather than the supporting category for ALL ABOUT EVE, and that probably is accurate, even if she may have cost Bette Davis an Oscar in the process. 1951: Oskar Werner wasn’t nominated for an Oscar for DECISION BEFORE DAWN, but he should have been. An argument could be made for either category. Shelley Winters was pleased to be in the top category for A PLACE IN THE SUN, but I would place that performance in the supporting class. 1952: Richard Burton obviously belonged in the star category for MY COUSIN RACHEL. I would probably put Colette Marchand there, too, for MOULIN ROUGE. Although she disappears after the first half of the film, it’s much the largest and most important female role, second in importance only to Jose Ferrer’s Toulouse-Lautrec. 1953: Children are almost automatically put in the supporting category, even Tatum O’Neal in PAPER MOON. SHANE is seen through the eyes of Brandon de Wilde, and I think he has a leading role. Geraldine Page in HONDO should be in the lead category, too, whereas Antony in JULIUS CAESAR is a supporting role—only Brutus is a lead—and Marlon Brando should be moved to supporting. 1954: Humphrey Bogart has a supporting role in THE CAINE MUTINY. Robert Francis has the starring role, but that’s hard to notice because he isn’t a star (imagine someone like Matt Damon instead, and it becomes obvious). Eva Marie Saint chose to be “downlisted” to the supporting category for ON THE WATERFRONT even though some critics’ groups had considered her as a lead. You can make the GREAT ZIEGFELD argument that Brando is the only star, but I would vote for this as a lead. 1955: Seeing what had worked for Eva Marie Saint, Betsy Blair was also downlisted for MARTY. I think it’s a lead. 1956: Assuming Don Murray should have been nominated for BUS STOP (he wouldn’t get my vote), it should have been as a lead. 1960: It’s been quite a while since I saw SONS AND LOVERS, but I think only Dean Stockwell is really a lead, which moves Trevor Howard to the supporting category. 1961: Neither Charles Boyer (FANNY) nor Maximilian Schell (JUDGMENT AT NUREMBERG) has enough proportionate screen time for the lead category, in my view. Piper Laurie’s role in THE HUSTLER seems comparable to the Eva Marie Saint and Betsy Blair roles mentioned above, but she competed as Best Actress, probably correctly. 1963: CLEOPATRA is a long enough movie that Rex Harrison has plenty of screen time, but a less-known actor would probably have been placed in the supporting category. Rachel Roberts has much less screen time than Richard Harris in THIS SPORTING LIFE, so a GREAT ZIEGFELD argument could be made that she has a supporting role. (If Saint and Blair are supporting, so is she.) There’s an even stronger argument that Patricia Neal should have been in the supporting category for HUD, for two other actors (Paul Newman and Brandon de Wilde) have much larger roles than she, and the main story is built around them. The Golden Globes put Neal in the supporting category, where she lost to Margaret Rutherford, who also won the Oscar, so uplisting Neal to Best Actress probably put her in an easier contest. 1965: Neither Frank Finlay nor Maggie Smith was well known when OTHELLO was released, and both were placed in the supporting categories where they were likelier to be nominated. Desdemona is a lead role, and Iago has more lines than Othello. They belonged in the star categories along with Olivier.

About a couple of films which have turned up on the "not seen" lists: CRAIG'S WIFE is based on a then-famous play by George Kelly about a woman who is so house-proud that she seems to prefer her perfectly arranged house to any of the people who live there. Joan Crawford starred in the remake, HARRIET CRAIG. Harriet is a bossy, domineering woman, and both Roz and Joan are believable in the role. BELOVED ENEMY was just shown as part of Merle Oberon's SOTM. If you saw the fine film MICHAEL COLLINS from several years back, imagine MICHAEL COLLINS turned into a romantic love story, with most of the specific historical facts left out. Brian Aherne is the dashing Irish hero based on Michael Collins. Donald Crisp is the hard-liner based on Eamon de Valera who will not accept compromise with the English. Henry Stephenson is the chief English negotiator, and Merle Oberon is his daughter who, of course, falls for the dashing Irishman on the other side. Karen Morley plays the mother of a boy who has been killed by the English. Perhaps it was made because THE INFORMER turned out to be such a hit. BELOVED ENEMY is high romantic whereas THE INFORMER is gloomy-serious, but the advantage is not all with the earlier film. THE INFORMER is clearly pro-IRA, with the British as shadowy villains, but BELOVED ENEMY looks for reconciliation with people of good will on both sides.

To mention a couple of the Merle Oberon films set for Friday night: DESIREE has a good performance by Merle as the Empress Josephine. Napoleon isn't necessarily one of Marlon Brando's best roles, but it's interesting to see what he does with the part. Jean Simmons is the other point of the romantic triangle. NIGHT SONG is shown in the middle of the night, which makes sense, but is unfortunate. I didn't expect to like this movie but liked it very much indeed. Merle plays a rich girl who falls for a blind composer, very well played by Dana Andrews, who does bitterness and self-loathing better than anyone this side of William Holden. Hoagy Carmichael is the friend who looks after Dana, and Ethel Barrymore plays Merle's aunt. All four stars are at the top of their game, and as a bonus there's Artur Rubinstein to play the piano concerto and Eugene Ormandy to conduct it. Classical music lovers will really enjoy this part of the movie. Merle pretends to be someone she isn't to get Dana's attention. When she does, she's faced with the dilemma of whether he likes her or the person she's pretending to be. This isn't a situation confined to heroines of 1940s romantic movies.

Those of us fortunate enough to attend got the whole treatment: intro from Ben M, overture, DeMille's curtain speech introducing the film, intermission with more Elmer Bernstein music, outro from Ben M, and exit music. Except for us TCM followers, the showing was not well publicized, and the theater, at a downscale mall, is part of the AMC chain, specializing in films like Allegiant Detergent and Batman vs. Stuporman. One of the artsier theaters would have been better. We thought there might be numerous church groups in attendance, but that was not the case. Perhaps it was poor publicity, perhaps people have gotten used to seeing it on TV.

Having seen THE TEN COMMANDMENTS on the big screen today--with only a couple of dozen in attendance, most of whom saw the movie when it first came out--I am in the mood to praise Yul Brynner. The digital restoration by Allen Smith is superb, and the film looks great, with the kind of beautiful but unmannered cinematography which has apparently passed away in the digital age. The script is clear and easy to follow, with many well-developed characters. Whatever reservations one may have about Charlton Heston's acting, he has the presence necessary for Moses, and his antagonist, Yul Brynner as Rameses, could scarcely be better. Let's see: a handsome and sexy man with a distinctive and unusual look, plenty of screen presence, a resonant voice, and solid acting ability. In other films he's a credible hero. Here he's just as believable as a villain who thinks he's strong, but is actually weak and lacking in self-knowledge. THE TEN COMMANDMENTS is a better movie than I had realized, and Yul Brynner is one of the reasons that it is.

With My Man Godfrey, Libelled Lady, After the Thin Man, and The Great Ziegfeld, I have no hesitation in saying that the Actor of the Year for 1936 is: William Powell

Tom, I'm another big fan of THE MAN WHO WOULD BE KING. Oswald Morris' great cinematography is another huge plus. Seeing this on the big screen at last year's TCM festival with Christopher Plummer in attendance was a special treat. The audience was very enthusiastic.

Lawrence, please tell us about VALIANT IS THE WORD FOR CARRIE. You gotta love the title, if nothing else. It inspired the Three Stooges to do a short film called VIOLENT IS THE WORD FOR CURLY.

STRAY DOG is wonderful in every way. One of my favorite films. The trauma of losing the war is reflected throughout society. Notice the different kinds of music, from traditional Japanese to American pop to Hawaiian, and in the magnificent climactic scene, western classical music. The detective and the man who stole his gun are both veterans of the war, and the policeman has enough imagination to see something of himself in the man he's chasing. Film noir fans especially should not miss this,. And thanks again to TCM for the Kurosawa birthday tribute back in 2010. That was amazing.

The sweet spot for me is about 1939-1965, with, of course, favorites from other decades as well. The 1940s has my vote: film noir, serious drama, women's pictures, romances, with a sprinkling of comedies and musicals. I've also come to enjoy the WWII dramas of resistance and collaboration. The 1940s has great actors, directors, writers, and, not least, cinematographers. Is there any question that the 1940s is the best decade for beautiful brunettes?

This very Friday night/Saturday morning another excellent Ethel Barrymore performance can be seen or taped: NIGHT SONG, shown as part of Merle Oberon's SOTM. My favorite Oberon performance, Dana Andrews outstanding as a blind composer, Hoagy Carmichael as Dana's friend, and Ethel as Merle's aunt. If you like romantic movies, this is an excellent one. Classical music fans will also enjoy the presence of Artur Rubinstein and Eugene Ormandy. COUNSELLOR AT LAW, TWENTIETH CENTURY, and MIDNIGHT are all films I wish had been included for John Barrymore. THE ROYAL FAMILY OF BROADWAY would have been another fun addition, as it was based on the Barrymores. Still, this will be a good introduction for those who are unfamiliar with the Barrymores.

Lawrence, I know from personal experience that Fuller fans will go ballistic if you refer to SHOCK CORRIDOR as camp. Nonetheless, it is. PICKUP ON SOUTH STREET is good, and I'm a fan of THE STEEL HELMET. THE CRIMSON KIMONO is also worth seeing, especially for fans of James Shigeta. The final confrontation in HOUSE OF BAMBOO is very well filmed, but Fuller has neglected to make us care much about either hero or villain. My general rule of thumb is that Fuller's strengths as a director are frequently undercut by his weaknesses as a writer.

Jayne Mansfield also appears to be a good actress in THE BURGLAR.

Kay, I'm glad you remembered Roland Young in THE UNGUARDED HOUR, because I didn't. This is what I wrote on another website about his performance: THE UNGUARDED HOUR is a must-add to the Gay Essentials, with Roland Young as Bunny (note the name—a bell goes off), a friend of the family who pays outrageous if insincere court to Loretta Young (another bell goes off for those in the know). Loretta thinks of women she can marry him off to but this isn’t happening (more bells go off). Effete is well within Roland Young’s range. Once the murder occurs, Bunny builds a hypothetical case against Sir Alan (Loretta's husband, played by Franchot Tone), and as this scene goes on—too long for the movie’s good, but interesting from another standpoint—the animosity between the two men surfaces. Bunny may be devoted to Lady Helen (Loretta), but he and Sir Alan really don’t like each other much, though they may not realize it until the very moment of this confrontation. The psychological observation here seems very acute.

Now that two of you have put Mary Astor in the supporting category, so will I. It's been a long time since I saw THE PETRIFIED FOREST, so I'm not sure exactly how those performances measure up against the others. Best Actor of 1936: William Powell, MY MAN GODFREY* Walter Huston, DODSWORTH Charles Chaplin, MODERN TIMES Leslie Howard, THE PETRIFIED FOREST Melvyn Douglas, THEODORA GOES WILD Honorable mention: William Powell, LIBELED LADY; Spencer Tracy, LIBELED LADY; Spencer Tracy, FURY Best Actress of 1936: Greta Garbo, CAMILLE* Irene Dunne, SHOW BOAT Irene Dunne, THEODORA GOES WILD Frances Farmer, COME AND GET IT Carole Lombard, MY MAN GODFREY Bette Davis, THE PETRIFIED FOREST Honorable mention: Paulette Goddard, MODERN TIMES; Jean Harlow, LIBELED LADY; Miriam Hopkins, THESE THREE; Merle Oberon, THESE THREE; Rosalind Russell, CRAIG'S WIFE; Sylvia Sidney, FURY Best Supporting Actor of 1936: Henry Stephenson, BELOVED ENEMY* Eugene Pallette, MY MAN GODFREY Humphrey Bogart, THE PETRIFIED FOREST Donald Crisp, BELOVED ENEMY Paul Robeson, SHOW BOAT Honorable mention: Spencer Tracy, SAN FRANCISCO Best Supporting Actress of 1936: Mary Astor, DODSWORTH* Gail Patrick, MY MAN GODFREY Bonita Granville, THESE THREE Myrna Loy, LIBELED LADY Karen Morley, BELOVED ENEMY Honorable mention: Maria Ouspenskaya, DODSWORTH

Three special awards all involve COME AND GET IT: 1935/1936 Tag Team Directors Award to Howard Hawks and William Wyler - In 1935 Wyler began BARBARY COAST, but was fired and replaced by Hawks. In 1936 Hawks began COME AND GET IT, but was fired and replaced by Wyler. Best Half-Performance of 1936 Award to Frances Farmer for COME AND GET IT. The hard-edged saloon gal she plays in the first half of the film is so much more interesting than the nice rich girl she plays in the second half. That's the fault of the script, not Miss Farmer. Yumpin Yiminy Award to Walter Brennan - given to any actor doing a Swedish accent. It is not essential, but preferable, that the actor utter the phrase "Yumpin' Yiminy" at some point in the film. This award was eventually retired after numerous wins by John Qualen.

MissW, if I remember correctly, O'Casey's family had Anglicized their name at one time, so that "Sean O'Casey" became "John Cassidy." Glad you got to see the movie and enjoyed it. I also love seeing Maggie Smith before she began to specialize in campy comedy.

Thanks, Bogie. This means that Garbo's Camille will be competing with a different Irene Dunne performance.

You've probably never seen anything like THE SID SAGA, to be shown late Saturday night or early Sunday morning. This is an autobiographical film made by an amateur. All special effects were created by the filmmaker himself. Sid's life was an unusual one--he started as a specialty musician in vaudeville. Not for every taste, but worth checking out.

THE GREAT ESCAPE is terrific fun. If you're willing to read subtitles, don't miss A MAN ESCAPED. This is by far the most approachable of the Robert Bresson films I've seen. A great film. The non-professional actors are excellent. Later in Bresson's career, this will not be the case.

I'm with Miss Wonderly on this one. Once watched the first 20 or 30 minutes of KISS ME, STUPID. At that point I had found one thing funny--the waiter nudging the next waiter to laugh at the unfunny comic's jokes--so I gave up. Jack Lemmon would definitely have helped. A better script, with some lines that were actually funny, would also have helped. When the jokes that are supposed to be funny are no funnier than the jokes which aren't supposed to be funny, there is a definite problem.

Lawrence, that's a great summation of Burton's career, and thanks for posting a picture of the young handsome Burton, pre-Liz and before he was a hopeless alcoholic. A superb actress to add to the list of great Welsh performers: Sian Phillips.

It's very unsettling to see an actor go from "OMG, I'd give anything to look like that"--say, Terence Stamp in FAR FROM THE MADDING CROWD--to "OMG, I may actually look better than he does"--say, Terence Stamp from SUPERMAN on.

With Charles Laughton winning TomJH's award as Actor of the Year for 1935, I'll belatedly suggest that the winner for 1934 should be Claudette Colbert. Not only did she win an Oscar and become a major star in IT HAPPENED ONE NIGHT, she was in two other films which were also nominated for Best Picture: IMITATION OF LIFE and CLEOPATRA. Screwball comedy, mother/daughter soap opera, historical picture: three very different genres.

Of the Merle Oberon films being shown Friday night, I've only seen FIRST COMES COURAGE and LYDIA. Both are enjoyable. FIRST COMES COURAGE is about the Resistance in Norway, like EDGE OF DARKNESS. Merle plays a woman reviled by her townspeople for keeping company with a Nazi officer, but she's only doing it for the sake of the Resistance. LYDIA is Julien Duvivier's Hollywood remake of his French film UN CARNET DE BAL, which was once widely regarded as a classic, but is now hard to find. LYDIA may not be as good as the original, but Merle, Joseph Cotten, and Edna May Oliver are fun to watch. Lydia remembers the men she danced with at a fancy ball when she was young, and we learn what has happened to them since.