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NEXT CATEGORY FOR ME IN 1937: BEST SUPPORTING ACTOR;

 

 

NO ORDER

 

 

 

 

Spencer Tracy in Captains Courageous

Billy and Bobby Mauch in The Prince and the Pauper

E.E. Clive in Personal Property

Reginald Owen in Personal Property

Dead End Kid regulars in Dead End

C. Aubrey Smith in The Hurricane

Eric Blore in Shall We Dance?

Edward Everett Horton in Shall We Dance?

Ralph Bellamy in The Awful Truth

Alexander D'Arcy in The Awful Truth

Frank Morgan in The Last of Mrs. Cheyney

Edward Rigby in Young and Innocent aka The Girl Was Young

 

 

 

 

 

 

WINNER:

 

Reginald Owen in Personal Property

 

 

(narrowly edging out Ralph Bellamy...)

 

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The Venice Film Festival of 1937 gave the Best Actor Award to Emil Jannings for Der Herrscher.  The Best Actress Award went to Bette Davis for both, Marked Woman and Kid Galahad.

 
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Here are my choices of the 66 films I've seen from 1937 for…

 

Best Actress of 1937

 

1.  IRENE DUNNE (Lucy Warriner), The Awful Truth

2.  LUISE RAINER (O-Lan), The Good Earth

3.  KATHARINE HEPBURN (Terry Randall), Stage Door

4.  CONSTANCE BENNETT (Marion Kerby), Topper

5.  FLORA ROBSON (Queen Elizabeth), Fire Over England

 

6.  BARBARA STANWYCK (Stella Martin Dallas), Stella Dallas

7.  CLAUDETTE COLBERT (Grand Duchess Tatiana Petrovna Romanov), Tovarich

8.  JANET GAYNOR (Esther Victoria Blodgett/Vicki Lester), A Star Is Born

9.  GINGER ROGERS (Jean Maitland), Stage Door

10. FRANCES FARMER (Josie Mansfield), The Toast of New York

 

and...

 

MARLENE DIETRICH (Countess Alexandra Vladinoff/”Maria Andrea”), Knight Without Armour

JEAN ARTHUR (Mary Smith), Easy Living

CLAUDETTE COLBERT (Kay Denham), I Met Him In Paris

GRETA GARBO (Countess Maria Walewska), Conquest

CAROLE LOMBARD (Hazel Flagg), Nothing Sacred

BARBARA STANWYCK (Janet Haley), Internes Can't Take Money

MAY WHITTY (Mrs. Bramson), Night Must Fall

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Best Actress of 1937:  (no order)

 

 

 

 

Kay Francis in Confession

Vivian Leigh in Fire Over England

Shirley Temple in Heidi

Ginger Rogers in Shall We Dance

Dorothy Lamour  in The Hurricane

Rosiland Russell in Night Must Fall

Dame Flora Robson in Fire Over England

Dame Mae Whitty in Night Must Fall

Constance Bennet in Topper

Alice Fay in  In Old Chicago

Sylvia Sydney in Dead End

Jean Harlow in Saratoga

Jean Harlow in Personal Property

Irene Dunne in The  Awful Truth

Joan Crawford in The Bride Wore Red

Gracie Allen in Damsell in Distress

Myrna Loy in Double Wedding

Olivia DeHaviland in It's Love I'm After

Bette Davis in It's Love I'm After

Madeleine Carroll in The Prisoner of Zenda

Carole Lombard in Nothing Sacred

Carole Lombard in Swing High, Swing Low

Nova Pilbeam in Young and Innocent aka The Girl Was Young

Vivian Leigh in Storm in a Teacup

Janet Gaynor in A Star is Born

 

 

 

WINNER:

 

 

JEAN HARLOW FOR PERSONAL PROPERTY

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One of the interesting things about 1937 is that Cary Grant has now officially established himself as "Cary Grant," the persona so familiar to all classic movie buffs. As he was in TOPPER and THE AWFUL TRUTH, so shall he be in many more films to come. SYLVIA SCARLETT is interesting for the very reason that he hadn't quite become the sophisticated "Cary Grant," and his character has some guttersnipe qualities that might have belonged to the boy who grew up as Archie Leach. In the even earlier HOT SATURDAY you can see the beginnings of the persona, but his look isn't right. Maybe it's the haircut or hairline, maybe the cameraman hasn't learned the best angles for his face, maybe Cary doesn't have the attitude just right.

 

In similar fashion, I would not have imagined a Scarlett O'Hara coming from the Vivien Leigh of FIRE OVER ENGLAND. The look isn't right, she's somewhat lacking in screen presence (to my taste), and she doesn't seem a strong enough actress (again, to my taste). I have a hunch this will change radically in 1938. Laurence Olivier doesn't have the look that we'll discover two years later in WUTHERING HEIGHTS. It's difficult for me to see FIRE OVER ENGLAND without later films in mind, but that's also part of the interest.

 

One of the sadder aspects of 1937 is that Miriam Hopkins doesn't appear on our lists of top actresses for the year. I'd never fully appreciated how strong her career was in the early to middle 1930s until we started this exercise. She was getting a variety of interesting characters to play and was working with top directors like Lubitsch, Mamoulian, Hawks, and Wyler.

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1937 BEST ACTOR:

 

Robert Montgomery in Night Must fall

Freddie Bartholomew in Captains Courageous

Cary Grant in Topper

Cary Grant in The Awful Truth

Clark Gable in Saratoga

Tyrone Power in  In Old Chicago

Don Ameche in In Old Chicago

Fred MacMurray in Swing High, Swing Low

Randolph Scott in High, Wide, and Handsome

Errol Flynn in The Prince and the Pauper

Robert Taylor in Personal Property

Paul Muni in The Life of Emile Zola

Joel MCCrea in Dead End

Fred Astaire in Shall We Dance

Basil Rathbone in Confession

Robert Montgomery in The Last of Mrs. Cheney

Francot Tone in The Bride Wore Red

Leslie Howard in It's Love I'm After

Nelson Eddy in Maytime

Humphrey Bogart in Black Legion

Frederic March in Nothing Sacred

Frederic March in A Star is Born

Derrick DeMarney in Young and Innocent aka The Girl Was Young

Joel McCrea in Wells Fargo

 

 

 

 

 

WINNER:

 

CARY GRANT IN THE AWFUL TRUTH

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One of the interesting things about 1937 is that Cary Grant has now officially established himself as "Cary Grant," the persona so familiar to all classic movie buffs. As he was in TOPPER and THE AWFUL TRUTH, so shall he be in many more films to come. SYLVIA SCARLETT is interesting for the very reason that he hadn't quite become the sophisticated "Cary Grant," and his character has some guttersnipe qualities that might have belonged to the boy who grew up as Archie Leach. In the even earlier HOT SATURDAY you can see the beginnings of the persona, but his look isn't right. Maybe it's the haircut or hairline, maybe the cameraman hasn't learned the best angles for his face, maybe Cary doesn't have the attitude just right.

 

In similar fashion, I would not have imagined a Scarlett O'Hara coming from the Vivien Leigh of FIRE OVER ENGLAND. The look isn't right, she's somewhat lacking in screen presence (to my taste), and she doesn't seem a strong enough actress (again, to my taste). I have a hunch this will change radically in 1938. Laurence Olivier doesn't have the look that we'll discover two years later in WUTHERING HEIGHTS. It's difficult for me to see FIRE OVER ENGLAND without later films in mind, but that's also part of the interest.

 

One of the sadder aspects of 1937 is that Miriam Hopkins doesn't appear on our lists of top actresses for the year. I'd never fully appreciated how strong her career was in the early to middle 1930s until we started this exercise. She was getting a variety of interesting characters to play and was working with top directors like Lubitsch, Mamoulian, Hawks, and Wyler.

 

 

Yes.  Well I agree with you about the interesting change in the actors.

 

Jean Harlow died.

 

As  for Miriam Hopkins, I am trying to remember whether or not she made any movies in 1937 that I have seen.  Was she working in 1937?

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In similar fashion, I would not have imagined a Scarlett O'Hara coming from the Vivien Leigh of FIRE OVER ENGLAND. The look isn't right, she's somewhat lacking in screen presence (to my taste), and she doesn't seem a strong enough actress (again, to my taste). I have a hunch this will change radically in 1938. Laurence Olivier doesn't have the look that we'll discover two years later in WUTHERING HEIGHTS. It's difficult for me to see FIRE OVER ENGLAND without later films in mind, but that's also part of the interest.

 

 

 

I think that it would be in 1938's St. Martin's Lane (aka Sidewalks of London) that Vivien Leigh first really shows signs of blossoming as an actress, as a street busker to turn sensational stage performer, while leaving mentor Charles Laughton still busking on the streets.

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I think that it would be in 1938's St. Martin's Lane (aka Sidewalks of London) that Vivien Leigh first really shows signs of blossoming as an actress, as a street busker to turn sensational stage performer, while leaving mentor Charles Laughton still busking on the streets.

You might be right, Tom. We'll have to see what happens next year. This is one of the many films I was thrilled to discover on TCM.

 

GregoryPeckfan--According to Miriam Hopkins' TCM webpage, she had four movies released in 1937: "The Woman I Love", "Men Are Not Gods", "Woman Chases Man" & "Wise Girl".

Thanks for the info! The fact that these titles are so unfamiliar suggests the downhill trajectory of her career. It's a vicious cycle. If the movies aren't hits, then the studio concludes that the public doesn't want to see her, so she doesn't get starring roles in good projects. The enforcement of the Code didn't help an actress who had projected her sexuality so strongly.

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One of the interesting things about 1937 is that Cary Grant has now officially established himself as "Cary Grant," the persona so familiar to all classic movie buffs. As he was in TOPPER and THE AWFUL TRUTH, so shall he be in many more films to come. SYLVIA SCARLETT is interesting for the very reason that he hadn't quite become the sophisticated "Cary Grant," and his character has some guttersnipe qualities that might have belonged to the boy who grew up as Archie Leach. In the even earlier HOT SATURDAY you can see the beginnings of the persona, but his look isn't right. Maybe it's the haircut or hairline, maybe the cameraman hasn't learned the best angles for his face, maybe Cary doesn't have the attitude just right.

 

I agree with you about the beginnings of "Cary Grant."  With The Awful Truth, Topper established his trademark persona, while 1938's Bringing Up Baby cemented it.  Even in films where Grant is a little less "Cary Grant" like Arsenic and Old Lace and Holiday for example, his Cary Grant persona is still intact, even as he's gesturing maniacally and doing acrobatics like he does in 'Lace' and 'Holiday,' respectively.  It's interesting that in 1939, Grant seemed to take a slight departure from his sophisticated persona to make Only Angels Have Wings and Gunga Din.  He also dabbled in dramatic films in the 1940s.  It seems though, that by the late 40s and throughout the 1950s, Cary Grant was fully entrenched in his sophisticated, suave leading man persona and didn't seem to want to deviate from it.  It's a shame too, because he was offered James Mason's role in A Star is Born, and according to director George Cukor, he delivered a very good reading of the material.  However, according to Cukor, Grant almost seemed afraid to take on such a role and ultimately turned the film down.  However, despite Grant's reluctance to branch out in the later part of his career, there's no denying that he defined "leading man." 

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I think that it would be in 1938's St. Martin's Lane (aka Sidewalks of London) that Vivien Leigh first really shows signs of blossoming as an actress, as a street busker to turn sensational stage performer, while leaving mentor Charles Laughton still busking on the streets.

 

 

You might be right, Tom. We'll have to see what happens next year. This is one of the many films I was thrilled to discover on TCM.

 

 

I remember the excitement that I felt, too, kingrat, when I first discovered the little known St. Martin's Lane, along with the lovely performances of its two leads. And, yes, 1938 is just around the corner.

 

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One of Humphrey Bogart's favourite films was the 1937 version of A Star Is Born. In fact, Bogie was so emotionally involved in the downward trajectory of Norman Maine's career that he used to cry while watching it.

 

I strongly suspect that the hard drinking Bogart, who had toiled in Bs dramas for years at Warners before becoming a star and, during the '50s, was insecure about staying on top of the Hollywood heap, heavily identified with Maine's character.

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Here are my choices of the 66 films I've seen from 1937 for…

 

Best Actor of 1937

 

1.  CARY GRANT (Jerry Warriner), The Awful Truth

2.  SPENCER TRACY (Manuel), Captains Courageous

3.  JEAN GABIN (Lieutenant Marechal, pilot), Grand Illusion

4.  ROLAND YOUNG (Cosmo Topper), Topper

5.  PAUL MUNI (Wang Lung), The Good Earth

 

6.  PAUL MUNI (Emile Zola), The Life of Emile Zola

7.  RONALD COLMAN (Robert Conway), Lost Horizon

8.  CARY GRANT (George Kerby), Topper

9.  CHARLES BOYER (Prince Mikhail Alexandrovitch Ouratieff), Tovarich

10. WILLIAM POWELL (Baron Stephan Wolensky), The Emperor's Candlesticks

 

and...

 

EDWARD ARNOLD (Jim Fisk), The Toast of New York

ROBERT DONAT (Ainsley J. Fothergill/”Peter Aranoff”/”Anton Andrea”), Knight Without Armour

JEAN GABIN (Pepe Le Moko), Pepe Le Moko

THE MARX BROTHERS: Groucho (Dr. Hugo Z. Hackenbush), Chico (Tony), Harpo (Stuffy), A Day at the            Races

CHARLES BOYER (Napoleon Bonaparte), Conquest 

PIERRE FRESNAY (Captain de Boeildieu, Hdq. staff), Grand Illusion

FREDRIC MARCH (Alfred Henkel/”Norman Maine”), A Star Is Born

PAUL ROBESON (Umbopa), King Solomon's Mines

RONALD COLMAN (Major Rudolf Rassendyll/King Rudolf of Ruritania), The Prisoner of Zenda

GARY COOPER (Michael ‘Nuggin’ Taylor), Souls at Sea

FREDDIE BARTHOLOMEW (Harvey Cheyne), Captains Courageous

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Here are the 1937 titles I haven't seen:

 

The Bride Wore Red

Confession

A Damsel in Distress

Double Wedding

Easy Living

Elephant Boy

The Emperor's Candlesticks

Every Day's a Holiday

Fight for Your Lady

The Great Garrick

Green Light

Gueule D'amour

Heidi

High, Wide and Handsome

History Is Made at Night

I Met Him in Paris

Internes Can't Take Money

It's Love I'm After

King Solomon's Mines

Knight Without Armour

The Last of Mrs. Cheney

Madam X

Maytime

The Pearls of the Crown

The Perfect Specimen

Personal Property

The Prince and the Pauper

Quality Street

Shall We Dance

The Soldier and the Lady

Storm in a Teacup

They Won't Forget

The Toast of New York

Tovarich

True Confession

Way Out West

Wee Willie Winkie

Wells Fargo

You Can't Have Everything

 

 

I have taped, but have not watched:

 

Fire Over England

Souls at Sea

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1937 Movies I Have Not Seen That  Interest Me (not a complete list of not seen)

 

 

Elephant Boy

Grand Illusion

Torovich

Fight For Your Lady

Green Light

The Great Garrick

INTERNES Can't Take Money

Every Day's A Holiday

I Met Him in Paris

The Pearls of the Crown

The Perfect Specimen

Quality Street

Lost Horizon

Conquest

Souls at Sea

Geule D'Amour

Pepe Le Moko

 

 

There are several other films I have not seen in a long time.

 

And as I said I have not seen any of the Miriam Hopkins films.

Edited by GregoryPeckfan
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Here are the films from 1937 that were mentioned that I have not seen as yet. 

 

Big City with Luis Rainer and Spencer Tracy

The Bride Wore Red with Joan Crawford

Broadway Melody of 1938 with Judy Garland and Sophie Tucker

Confession with Kay Francis

Derr Herrscher with Emil Jannings

Double Wedding with William Powell and Myrna Loy

Every Day’s a Holiday with Walter Catlett

Fight For Your Lady with Erik Rhodes

The Great Garrick with Brian Aherne and Melville Cooper

High, Wide and Handsome with Randolph Scott

History Is Made at Night with Charles Boyer and Jean Arthur

Jericho with Paul Robeson

Lady Killer/Gueule d’Amour with Jean Gabin and Mireille Balin

The Last of Mrs. Cheyney with Robert Montgomery and Frank Morgan

Madame X with Gladys George

Pearls of the Crown with Arletty

Personal Property with Jean Harlow, Robert Taylor, Henrietta Crossman, Cora Witherspoon, E.E. Clive,                 Reginald Owen and Una O’Connor

The Soldier and the Lady with Akim Tamiroff

Storm In a Teacup with Vivien Leigh

Swing High, Swing Low with Carole Lombard and Fred MacMurray

They Gave Him a Gun with Franchot Tone

Under the Red Robe with Conrad Veidt

Victoria the Great with Anna Neagle

Wells Fargo with Joel McCrea

You Can’t Have Everything with Allice Faye and Gypsy Rose Lee

You Only Live Once with Henry Fond and Sylvia Sidney

 

And I would like to see these again …

 

The Awful Truth for Cecil Cunningham, Joyce Compton and Molly Lamont

Easy Living for Mary Nash

The Good Earth for Charley Grapewin

Marked Woman for Eduardo Ciannelli and Lola Lane

Nothing Sacred for Charles Winninger

Stella Dallas for Alan Hale

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If I had to pick one film that I have seen from Lawrence's and Peck Fan's unseen lists that I would recommend it would be Tovarich.  It's lots of fun as has previously been mentioned.

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You will notice that I did not mention that I have not seen Stella Dallas.  Perhaps I should have included this in my list, but I thought that perhaps people would remember that I said I had not seen it yet because it is a tearjerker.

 

 

The movie I recommend the most on Lawrence and Bogie`s lists is PERSONAL PROPERTY.

Edited by GregoryPeckfan
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In the category of words spelled correctly can still be incorrect and having a one track mind, I read over my list of to-see films which I have since edited that I listed the movie INTERNS CAN`T TAKE MONEY as

 

INTERNETS can`t take money.

 

 

(sigh.  No one would ever believe that this was an error)

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