TopBilled

I think Kerr exhibits a very broad technical range. She goes from playing the lusty housewife in TEA AND SYMPATHY to the sexually repressed spinster in SEPARATE TABLES without missing a beat. I don't know of any other actress who completely reinvents herself like that, from one role to the very next.

Since they were giving Russell a special Oscar anyway, I think they should have excluded him from the main competition. It really should've gone to Rains for NOTORIOUS. There is no way you can say Harold Russell, as great as he may be, is a better actor than Claude Rains. No way.

I think you are looking at it with modern sensibilities. One thing people forget is that CASABLANCA was seen as a routine studio project when it was made. It was not an instant classic, though it did not take long for people to admire and appreciate it and elevate it into the phenomenon it is now. Therefore, it does not surprise me that it was initially overlooked by voters. They probably thought Lillian Hellman's WATCH ON THE RHINE had a better pedigree. Just a short time earlier, THE LITTLE FOXES was a huge hit and an Oscar favorite. So when WATCH ON THE RHINE came along, it probably did overshadow CASABLANCA. As for Charles Coburn, I think that performance was considered revolutionary. Not because of his great acting techniques, but because the Hays Office let him get away with saying 'damn' throughout the picture. It was a somewhat subversive role and pushed the boundaries of the production code. But Coburn was a highly respected stage and film actor and he had several other nominations, so this was no flash-in-the-pan moment for him. I think his work in THE GREEN YEARS is incorrectly labeled as a supporting role, when actually he is the lead and he should really have competed in the lead actor category.

You're right, they need to fix that.

I wonder if *Harold Russell* won due to a sympathy vote. Was he really a better actor? I don't regard him as technically trained or a natural on screen, though I do think he's very real and effective as Homer in THE BEST YEARS OF OUR LIVES. I guess it's all debatable. He beat out *Charles Coburn*, who does an excellent job in THE GREEN YEARS; *Claude Rains*, equally good in NOTORIOUS; *William Demarest* for THE JOLSON STORY; and *Clifton Webb* who has already been cited for THE RAZOR'S EDGE.

Of course, Ingrid was upset for years that her role in CASABLANCA obscured her work in GASLIGHT and FOR WHOM THE BELL TOLLS (which she considered her best). I think her JOAN OF ARC is also noteworthy.

You're right about EGR...however, he did not live to see it. He died in January '73 and was posthumously awarded a Lifetime Achievement Oscar by the Academy two months later. I guess they realized that they owed him, in death. *Natalie Wood* was never Oscar-feted (one nod for supporting actress, two nods for best actress). She received two Golden Globes. And get this, she was nominated 17 times for the Golden Laurel Awards.

Or better, an independent filmmaker should make a documentary about this online community.

Of course, there were other performances by Kerr that are just as worthy. Her early work in THE LIFE AND DEATH OF COLONEL BLIMP is excellent. I think she's very good in THE INNOCENTS. And she received a BAFTA nomination for TEA AND SYMPATHY.

Some performers never receive Oscars. Sometimes the Academy makes up for this by bestowing an honorary one upon stars at the end of their careers. Deborah Kerr, Barbara Stanwyck, Kirk Douglas and Cary Grant all received honorary Oscars. Kerr had lost out on the top prize six times! Stanwyck was overlooked four times. But there are other performers who did not receive anything: - *Montgomery Clift* was nominated four times (three times as Best Actor, one time as Best Supporting Actor) and walked away empty-handed. - The canine star *Pal* was unfairly passed over for LASSIE COME HOME. I still think this was a shattering portrayal of a dog by a dog. LOL - *Glenn Ford* was never once nominated by the Academy, though he did earn a Golden Globe in 1962 for POCKETFUL OF MIRACLES. - *Edward G. Robinson*. Never nominated. No Lifetime Achievement Award. How unjust! - *Eleanor Parker* was short-changed. Her extraordinary work in CAGED, DETECTIVE STORY and INTERRUPTED MELODY was all overlooked. - No recognition for *Errol Flynn,* *Robert Taylor* or *Tyrone Power.* I guess they thought these pretty boys were not serious actors...just box office gold. - No awards for *Mamie Van Doren*. The Razzies did not begin until 1981. - *Marilyn Monroe* earned three Golden Globe awards, but nothing from the Academy. She did receive a BAFTA nomination for THE PRINCE AND THE SHOWGIRL.

I am definitely looking forward to Fabian in RIDE THE WILD SURF...

Well, since they are doing a month of singing cowboys, I have a feeling this one will air. Let's hope.

I think you have the year slightly wrong...MR. SKEFFINGTON, DOUBLE INDEMNITY and the American remake of GASLIGHT were all 1944 releases, not 1945.

One of the obvious problems with the double nomination we see for Fitzgerald is what if the person actually won for both?! Glad he won for supporting actor, because if he had won best actor, then that would've been seen as a major upset. As for Baxter and Davis, you can't really blame Baxter for wanting to be recognized as best actress. Personally, I think Eleanor Parker gives the year's top bravura performance in CAGED.

Personality is a flair of the character (some characters have many personalities). Character is the entire motivation of the figure on screen, derived from his or her background and informing the subtext that drives that person toward the final goal.

Yes, and one marked difference between then and now is that today's Hollywood seldom rewards comic performances. Comedy is continually given short shrift by the Academy. In my opinion, comedy is much harder to do. And those that can do comedy-drama, sometimes in the same scene, where the character oscillates between both extremes of comic and tragic, that takes a very special skill and technique. It deserves greater recognition.

1930 1. ALL QUIET ON THE WESTERN FRONT 2. WHOOPEE! 3. HELL'S ANGELS 4. ANIMAL CRACKERS 5. FEET FIRST 6. THE ROGUE SONG 7. THE LIFE OF THE PARTY 8. HOLD EVERYTHING 9. SUNNY 10. THE VAGABOND KING 1931 1. FRANKENSTEIN 2. CIMARRON 3. MATA HARI 4. CITY LIGHTS 5. A FREE SOUL 6. DRACULA 7. PRIVATE LIVES 8. NO LIMIT 9. THE PUBLIC ENEMY 10. THE SMILING LIEUTENANT 1932 1. SHANGHAI EXPRESS 2. GRAND HOTEL 3. A FAREWELL TO ARMS 4. RED DUST 5. THE CHAMP 6. TROUBLE IN PARADISE 7. LOVE ME TONIGHT 8. DR. JEKYLL AND MR. HYDE 9. RED-HEADED WOMAN 10. SCARFACE 1933 1. QUEEN CHRISTINA 2. I'M NO ANGEL 3. KING KONG 4. 42ND STREET 5. SHE DONE HIM WRONG 6. STATE FAIR 7. DINNER AT EIGHT 8. HOLD YOUR MAN 9. LITTLE WOMEN 10. DESIGN FOR LIVING 1934 1. VIVA VILLA! 2. CLEOPATRA 3. THE BARRETTS OF WIMPOLE STREET 4. IT HAPPENED ONE NIGHT 5. THE THIN MAN 6. THE RICHEST GIRL IN THE WORLD 7. THE GAY DIVORCEE 8. IMITATION OF LIFE 9. THE GIRL FROM MISSOURI 10. THE HOUSE OF ROTHSCHILD 1935 1. MUTINY ON THE BOUNTY 2. BECKY SHARP 3. TOP HAT 4. THE LITTLEST REBEL 5. THE INFORMER 6. CHINA SEAS 7. BARBARY COAST 8. CAPTAIN BLOOD 9. ANNA KARENINA 10. CURLY TOP 1936 1. SAN FRANCISCO 2. THE GREAT ZIEGFELD 3. MODERN TIMES 4. THESE THREE 5. LIBELED LADY 6. THREE SMART GIRLS 7. POOR LITTLE RICH GIRL 8. CAMILLE 9. THE CHARGE OF THE LIGHT BRIGADE 10. WIFE VERSUS SECRETARY 1937 1. SNOW WHITE AND THE SEVEN DWARVES 2. SARATOGA 3. ONE HUNDRED MEN AND A GIRL 4. TOPPER 5. WEE WILLIE WINKIE 6. STELLA DALLAS 7. IN OLD CHICAGO 8. THE PRINCE AND THE PAUPER 9. THE GOOD EARTH 10. THE LIFE OF EMILE ZOLA 1938 1. ALEXANDER'S RAGTIME BAND 2. TEST PILOT 3. BOYS TOWN 4. THE ADVENTURES OF ROBIN HOOD 5. YOU CAN'T TAKE IT WITH YOU 6. SWEETHEARTS 7. MARIE ANTOINETTE 8. HAPPY LANDING 9. ANGELS WITH DIRTY FACES 10. OUT WEST WITH THE HARDYS 1939 1. GONE WITH THE WIND 2. JESSE JAMES 3. MR. SMITH GOES TO WASHINGTON 4. THE RAINS CAME 5. BABES IN ARMS 6. DODGE CITY 7. GOODBYE, MR. CHIPS 8. THE WIZARD OF OZ 9. THE HUNCHBACK OF NOTRE DAME 10. GUNGA DIN

Okay, thanks for pointing that out. I am still learning this particular forum with all the threads. I think it helps if the performers are added when the titles are listed.

Don't forget her work with *Anthony Asquith*, with *Elia Kazan* and with *Joseph Losey*. I really like her in THE TRAIN. And she's great in THE TRIAL. I am surprised she never worked with *Robert Altman*...that would've been a good collaboration.

The Supporting Actors 1940...*Walter Brennan*...THE WESTERNER (Western) 1941...*Donald Crisp*...HOW GREEN WAS MY VALLEY (Drama) 1942...*Van Heflin*...JOHNNY EAGER (Film Noir/Gangster) 1943...*Charles Coburn*...THE MORE THE MERRIER (Homefront Comedy) 1944...*Barry Fitzgerald*...GOING MY WAY (Musical Comedy-Drama) 1945...*James Dunn*...A TREE GROWS IN BROOKLYN (Social Message Drama) 1946...*Harold Russell*...THE BEST YEARS OF OUR LIVES (Postwar Life Drama) 1947...*Edmund Gwenn*...MIRACLE ON 34TH STREET (Fantasy Comedy) 1948...*Walter Huston*...TREASURE OF THE SIERRA MADRE (Adventure) 1949...*Dean Jagger*...TWELVE O'CLOCK HIGH (War Drama) Special mention: *Clifton Webb* gives great supporting performances in LAURA and THE RAZOR'S EDGE. He would also be nominated as best actor for SITTING PRETTY. Similarly, *Monty Woolley* received nominations in both categories-- as best actor for THE PIED PIPER; and for best supporting actor in SINCE YOU WENT AWAY. Harold Russell won two Oscars for his work in THE BEST YEARS OF OUR LIVES. He was given a special Oscar, and he also earned a competitive Oscar as supporting actor. Barry Fitzgerald was nominated twice for his role in GOING MY WAY. He competed in both the best actor and supporting actor categories. I wonder if there is a rule against that now...?

Yes, very heavy on dramas...only Stewart and Cagney win for lighter fare. And I think Cagney should've been nominated for 1949's WHITE HEAT which is arguably just as strong a performance as the one Broderick Crawford gives. Paul Lukas seems to be the least remembered of these actors now.

1940...*James Stewart*...THE PHILADELPHIA STORY (Screwball Comedy) 1941...*Gary Cooper*...SERGEANT YORK (War Drama/Biography) 1942...*James Cagney*...YANKEE DOODLE DANDY (Musical) 1943...*Paul Lukas*...WATCH ON THE RHINE (Social Message Drama) 1944...*Bing Crosby*...GOING MY WAY (Musical Comedy-Drama) 1945...*Ray Milland*...THE LOST WEEKEND (Social Message Drama) 1946...*Fredric March*...THE BEST YEARS OF OUR LIVES (Postwar Life Drama) 1947...*Ronald Colman*...A DOUBLE LIFE (Film Noir) 1948...*Laurence Olivier*...HAMLET (Historical Drama) 1949...*Broderick Crawford*...ALL THE KING'S MEN (Political Drama) Special mention: *Greg Peck* was nominated four times as Best Actor during the 40s. *Charlie Chaplin* was defeated by James Stewart in '40 for his work in THE GREAT DICTATOR. Also, *Humphrey Bogart* was overlooked for his role as Rick in the perennial favorite CASABLANCA.

Hi kris...welcome. As great as Tallu is in LIFEBOAT, she is sort of fighting for screen time with the rest of the ensemble. I think she is much more queen bee in A ROYAL SCANDAL...plus she has all those fabulous outfits and the excellent mise-en-scene to show off her gorgeous figure as she prances around the palace.

Has anyone else noticed the feature at the bottom of the Message Boards' home page that looks like this: I recently discovered it. It lists each days' top posters as well as the overall top posters. I don't know what the purpose of collecting such data means, but it is included in the web design. For instance, if you click on Today's Top Posters, you will be led to this screen: I've never been the number one poster (to my knowledge) but I am usually in the Top 20. I make about ten to fifteen posts per day on average, maybe down around five on a very 'slow' day.

See, I think a lot of people are erroneously calling it a character piece. I don't think it is. Instead, I see it as a film that relies on mood and personality, not character. The characters do not really go through a major transformation...they just get stuck and spend time together and go off at the end...I don't see them as having learned anything earth-shattering. It's a lyrical film with very little plot or character development. It depends solely upon the personalities of the two engaging leads, and for me, while it's charming, it's not enough. It's like going into a restaurant and expecting a steak and a chunk of bread but instead being served a wafer with a glass of water.