Best Picture of 1930/31

There have been numerous verdicts during the course of Matt vs. the Academy that have been maddeningly difficult due to an abundance of quality cinema. Choosing my favourite nominee from 1930/31 is likewise difficult, but for the opposite reason. The shortlist is perhaps the weakest that I have covered to date, with no film jumping out as a clear winner.

The nominees for Best Picture of 1930/31 are:

• Cimarron
• East Lynne
• The Front Page
• Skippy
• Trader Horn

Clearly, with the advent of sound, motion picture production took some time to adjust and the kinks were still being ironed out a few years later. Without dialogue, silent films essentially relied on melodrama to communicate their stories. Once sound arrived, melodrama was no longer required but it stuck around anyway. The five films above are not entirely without merit, however. While each picture fails to size up to later classics, they each excel in at least one aspect.

Adventure story Trader Horn is perhaps the most melodramatic, its performances especially. The footage of African wildlife shot on location is utterly gratuitous, yet still fascinating. As a drama, East Lynne's schmaltz is perhaps a little more fitting, but it still comes across as a soap opera. Nonetheless, Ann Harding in the lead role delivers an engaging performance well worth a look. Cimarron is one of those epic yet personal tales that has so often gained favour with the Academy. No great surprise, then, that it went on to win the Best Picture trophy. Its action scenes are particularly spectacular, but again, melodrama gets in the way.

Thus, we are left with two comedies. Whereas in later years, comedic films struggle to be noticed amongst powerful dramatic content, here the three dramas suffer from too much sentimentality, leaving The Front Page and Skippy to be remembered. The snappy dialogue in The Front Page is amusing and energetic, but Skippy's charm, both in its witty script and its child performances, makes it a slightly more fun experience making it my official pick of the 1930/31 Best Picture nominees.

Best Picture of 1930/31
Academy's choice: Cimarron	Matt's choice: Skippy

Your choice:

Have your say by voting for your favourite of the nominees using the poll above. Next, we move back to a more recent Best Picture race by taking a look at the contenders from just a few years ago.

And the nominees for Best Picture of 2005 are:

• Brokeback Mountain
• Capote
• Crash
• Good Night and Good Luck
• Munich

Stay tuned...

1930/31 - Trader Horn

The first few shows of Aussie Improv Comedy Explosion are under our collective belt and word is spreading of our improvised insanity. On stage this week, I have drowned on a water-slide, sung about gum-scrapers and confessed to stealing a cat with Lindsay Lohan. What happens in Vegas...

We've reached the end of the current crop of nominees so make sure to get your vote in for the next year of review. The poll is over there on the right hand side of the screen.

Last night, I caught the final nominee from the 1930/31 Best Picture race...

Trader Horn
Director:
W.S. Van Dyke
Screenplay:
Dale Van Every, John Thomas Neville, Richard Schayer, Cyril Hume
(based on the book by Ethelreda Lewis and Alfred Aloysius Horn)
Starring:
Harry Carey, Edwina Booth, Duncan Renaldo, Mutia Omoolu, Olive Golden
Academy Awards:
1 nomination
0 wins

In Africa, we meet a man who calls himself Trader Horn (Carey), presumably because he is in the business of trading elephant ivory. He and his companion Peru (Renaldo) along with a native guide they call Ranchero (Omoolu) run into missionary Edith Trent (Golden) who is searching for her long-lost daughter Nina (Booth), captured by a local tribe years ago. When Mrs. Trent is killed, Horn and company continue the search encountering perilous wildlife and unfriendly natives.

Classifying Trader Horn as an adventure film seems the most appropriate, yet perhaps one could argue another way. Despite its renown for being the first fictional film to be shot on location in Africa, at times it plays out like a nature documentary. Several sections of the narrative see Horn pointing out various species of African wildlife and offering his travelling partner a brief description of the animals' behaviour. We also witness Horn interact with the local tribesmen, all played by actual African natives.

Since many of these scenes are gratuitous, offering little in the way of moving the plot forward, one wonders why they didn't just make a documentary. However, the images captured are indeed fascinating. Seeing all these animals in their natural habitat is often spectacular, especially when we witness displays of aggression. Had the American Humane Association had their Film & TV Unit in operation at the time, no doubt they would have had a field day with the scenes in which hunters shoot rhinos or throw spears at lions.

The picture occasionally expounds some racist ideas, which is unfortunate. I suppose that's what you get when you base your story on the life of a 19th century white ivory trader. Nonetheless, there are a few tense moments within the drama, specifically when our heroes are suddenly tied upside-down by the natives. Although, they are released almost immediately so the tension passes quickly.

Like East Lynne from the same year, Trader Horn managed to secure a Best Picture nomination without receiving a single other nod. Clearly, the safari spectacle was enough for voters to push it over the line. The cast, led by Harry Carey as the intrepid adventurer, are mostly melodramatic, not an uncommon occurrence for pictures of this era.

1930/31 - The Front Page

I am writing this post from Las Vegas, the third city I have visited in as many posts. The last few days have been spent preparing for the opening of Aussie Improv Comedy Explosion, the comedy show in which I'll be performing for the next month. You may not think there would be any need for rehearsals for an improvised show, but believe it or not, we have found plenty of things to work on, not the least of which is promoting the show to our potential audiences. While the show opened earlier tonight, we have a small rotating cast, so I participated only as an audience member this evening. My first performance on stage will be tomorrow night.

Last night, I made the most of some down time by watching another in the Academy's race for Best Picture of 1930/31...

The Front Page
Director:
Lewis Milestone
Screenplay:
Bartlett Cormack and Charles Lederer
(based on the play by Ben Hecht & Charles MacArthur)
Starring:
Adolphe Menjou, Pat O'Brien, Mary Brian, Edward Everett Horton, Walter Catlett, George E. Stone, Mae Clarke, Slim Summerville
Academy Awards:
3 nominations
0 wins

Top reporter Hildy Johnson (O'Brien) is packing in the Chicago news scene to run off to New York with his fiancée Peggy (Brian), much to the annoyance of Hildy's editor, Walter Burns (Menjou). As Hildy says his goodbyes to his colleagues in the court press room, a big story begins to unravel that he simply can't resist. Convicted murderer Earl Williams (Stone) escapes and, while all the other reporters are out looking for him, he stumbles right into Hildy's lap. With a scoop like that, how can he possibly leave town? Walter is happy, but Peggy is not, and Hildy can't string them both along forever.

There is an immensely fun and vibrant quality about The Front Page, which is almost entirely on account of the snappy dialogue. The fast-paced conversations, clearly the product of a stage adaptation, are delightfully droll and occasionally risqué (the restrictive Production Code was not quite in force just yet). A lively ensemble of sarcastic characters keep the story moving at an exciting pace.

Of course, as is the case with such wordy pieces, the static staging can seem a bit tiresome at times. Fortunately, the witty barbs come with such frequency that the lack of movement goes largely unnoticed. Besides, the latter half of the picture features more action which alleviates any monotony. In fact, the film's second half is more engaging for other reasons, too. Whereas the opening scenes feature a whole bunch of subplots, albeit related, the second half is satisfyingly cohesive, concentrating on the main narrative.

As mentioned, the ensemble cast ensure the sarcasm is delivered with appropriate speed, led by Pat O'Brien and Adolphe Menjou, a Matt vs. the Academy regular. Also of note are Frank McHugh, whose infectious laugh I noted while reviewing Going My Way, Edward Everett Horton, a prolific character actor of early Hollywood, and George E. Stone, fresh from another 1930/31 contender, Cimarron.

Unsurprisingly for a film that is 80 years old, The Front Page suffers a little from a lack of video and audio quality. For example, the rapid-fire dialogue is often difficult to comprehend. However, only a month ago, the National Film Preservation Board added the film to its National Film Registry, so hopefully, it will undergo a much-needed restoration soon.

1930/31 - Cimarron

After almost a month away, I am finally back in New York City... but not for long. This week, I head back to the other side of the country to perform in an improv show in Las Vegas! Yep, I'll be a bona fide Vegas performer, right there on the Strip. A rotating cast of Australian improvisers will perform in Aussie Improv Comedy Explosion at the V Theater in the Planet Hollywood Resort beginning on January 31. So, if you're planning on being near Sin City during February, come check it out.

Tomorrow morning, bright and early, the Oscar nominations will be announced. As always, I have made my predictions as to which films will be recognised - and just in time, too. For anyone out there who might be interested in this sort of thing, here are my guesses.

While we wait for the Academy's picks for 2010, here's a look at their Best Picture winner of 1930/31...

Cimarron
Director:
Wesley Ruggles
Screenplay:
Howard Estabrook
Starring:
Richard Dix, Irene Dunne, Estelle Taylor, Nance O'Neil, William Collier, Jr., Roscoe Ates, George E. Stone, Edna May Oliver
Academy Awards:
7 nominations
3 wins, including Best Picture

It seems that, even way back then, the Academy's penchant for epics was strong. Cimarron is a big-budget extravaganza spanning over four decades in the lives of Yancey Cravat (Dix) and his wife Sabra (Dunne). Yancey's aversion to staying in one place for too long leads him to forsake Wichita, Kansas and stake his claim in the newly opened land in Oklahoma. The couple and their two young children settle in the town of Osage, where Yancey begins a newspaper called the Oklahoma Wigwam. But his nomadic and restless nature soon sees him gallivanting off someplace else every few years, leaving Sabra to take care of the business and the family.

As is the case with many films of this early sound era, Cimarron often feels melodramatic, a drawback that is probably only augmented by its epic quality. While the Oklahoma land rush scene is indeed spectacularly staged, it finds itself a little light on substance. (Gratuitous action scenes are not unique to modern blockbusters.) The overly theatrical deaths don't help the film's cause either. And perhaps its just a case of Hollywood still learning the ropes of how to make pictures with sound, but there are more than a few awkward silences in between lines that could have been avoided had the editor cut to the next shot a little sooner.

The narrative is solid, though, covering the Cravats' tale at various intervals in their lives. However, as we near the end of the picture, the length of time that has passed between sequences gets longer and longer and begins to feel a bit rushed. Whereas the first few jumps are only a few years, the final act takes place over two decades after the previous one. And since the characters age so much from start to finish, there is a great deal of make-up required to make the actors look forty years older. Fortunately, it is very convincing work, impressive for the time period.

Oscar-nominated Richard Dix does an admirable job playing one of the most heroic characters ever written. Lawyer, pastor, pioneer and newspaper editor, Yancey inspires the masses, stands up to bullies and saves lives, all the while maintaining his impossibly great hair. He is well-liked and morally upstanding ... despite a slight case of 19th century misogyny and his habit of abandoning his family for years on end. The usually subtle and intelligent Irene Dunne (pictured), also Oscar-nominated, is a little over-the-top in this early role, but then again, so is most of the cast.

1930/31 - East Lynne

The last few days in Los Angeles have been both relaxing and energetic. While I've managed to get in a fair amount of lounging around, I've also taken in a couple of racquetball games as well as a hike in Temescal Canyon. Add a poker night and a games night to the mix and you've got yourself quite an eventful vacation. To cap it all off before I head back to New York and the cold weather, the Golden Globe Awards, which are occurring just a few miles away in Beverly Hills, are just about to begin as I write this.

Earlier this week, while at the UCLA Film & TV Archive, I got the chance to watch a hard-to-find nominee from the 1930/31 Best Picture race...

East Lynne
Director:
Frank Lloyd
Screenplay:
Tom Barry and Bradley King
(based on the novel by Mrs. Henry Wood)
Starring:
Ann Harding, Clive Brook, Conrad Nagel, Cecilia Loftus, Beryl Mercer
Academy Awards:
1 nomination
0 wins

Pretty young social butterfly Isabella (Harding) is initially excited to marry wealthy politician Robert Carlyle (Nagel), no relation to the well-known Scottish actor. He brings his new bride to live with him at his estate, East Lynne, where his sister Cornelia (Loftus) takes an immediate disliking to her. After a few years, Isabella feels bored in the stifling house, her only stimulation derived from playing with her new son.

Yearning for some fun and excitement while Robert is away, Isabella sneaks off to a fancy ball with an old suitor Captain Levison (Brook). The two share an illicit kiss before Isabella rejects his further advances. But the damage is already done. Cornelia witnessed the indiscretion and blabs to Robert, who, believing Isabella has been unfaithful, throws her out of the house, vowing never to allow her to see their son again.

East Lynne begins as an occasionally bland melodrama, but manages to avoid being completely boring. Its characters are relatively clichéd - the fun-loving wife, the conservative husband, the protective older sister who passive-aggressively makes life miserable for the newcomer. The story, too, is a tad tired - new girl, not accepted by husband's family, tries to deal with stuffy upper class rules and etiquette. It's definitely soap opera material.

However, it does become engrossing towards the climax of the film. Once the stakes are raised, things start to get tense, and the picture is much more watchable. Unfortunately, though, the climax itself is a bit laughable. Isabella goes suddenly blind, but rather than stay put and wait for help, she inexplicably attempts to find her way home on her own and walks straight off a cliff.

Ann Harding (pictured) is possibly the finest part of East Lynne. Her natural performance as the party girl without a party is truly engaging and helps to alleviate the film's flaws. Conrad Nagel as the staid husband also offers an accomplished portrayal if you can get past the heavy lipstick and eyeliner. And Clive Brook as the other man is compelling if only for his unusual cadence. None of the performances received Oscar nominations. Nor did any of the technical or creative elements. In fact, East Lynne's sole nomination was for Best Picture.

1930/31 - Skippy

Yesterday morning, I diligently researched how to get to UCLA before embarking on my journey. The bus schedule informed me that the No. 2 bus leaving at noon would take me from Sunset & Gower (which is near the Hollywood apartment in which I am staying thanks to Aussie friends Steve & Josh) all the way to the UCLA campus in Westwood. Like clockwork, the No. 2 bus arrived precisely on time and I happily hopped on board. About fifteen minutes later, with UCLA still about five miles away, the bus driver notified the remaining passengers that the current stop was the last that this bus would make. Apparently, I had hopped on the wrong No. 2 bus. This No. 2 bus, the driver explained, only went as far as West Hollywood. To get to UCLA, I needed to catch the No. 2 bus that terminates at Pacific Palisades ... Wait. So, there are two different bus routes that call themselves the No. 2? ... Well, that's perfectly reasonable. Nobody will ever be confused by that...

I did eventually make it to the stunningly beautiful UCLA campus where I visited the equally stunning Powell Library. Inside, I found the Film and Television Archive and viewed East Lynne and Skippy, both nominated for the Best Picture Oscar in 1930/31. Later that afternoon, I stopped by the famous Grauman's Chinese Theatre and found the hand and foot prints of Jackie Cooper, the young star of Skippy. Mysteriously, though, there appears to be an error in his age or the date of the signing. Cooper was nine years old on December 12, 1931. (I also realise now that I should have asked someone else to take the photo so that I could appear in it as proof of my presence. Oh, well. You'll just have to believe me.)

Even though I actually watched East Lynne first, I will save that for the next post, which means our first Best Picture nominee from 1930/31 is...

Skippy
Director:
Norman Taurog
Screenplay:
Joseph L. Mankiewicz, Don Marquis, Norman Z. McLeod, Sam Mintz
(based on the comic strip by Percy Crosby)
Starring:
Jackie Cooper, Robert Coogan, Mitzi Green, Jackie Searl, Willard Robertson, Enid Bennett, Donald Haines, Helen Jerome Eddy
Academy Awards:
4 nominations
1 win, for Best Director

Skippy (Cooper) is a precocious little rascal, constantly disobeying his parents (Robertson & Bennett). Despite being told that he must never venture to the other side of the tracks, Skippy spends most of his time there, befriending a poor boy named Sooky (Coogan). When Sooky's dog is taken away by the local government (of which Skippy's father is the health supervisor), the two boys attempt all sorts of crazy schemes to make enough money to buy the required dog license. Skippy is also dismayed to hear that his father plans to tear down the shanty town where Sooky and his family live.

Today, most comic book adaptations are of the large-scale superhero blockbuster kind. Not so in 1931. Skippy is light entertainment that could easily be written off as a piece of fluff. Most of the characters are one-dimensional caricatures. And the simple plot hides the fact that the story is merely a whole bunch of comic strips strung together.

However, with four-time Oscar-winner Joseph L. Mankiewicz as a co-writer, the script remains clever and witty. For example, in response to Skippy asking him what his father does, Sooky states, "He just stays where he is. He's dead." As an Australian, I was also enamoured with the conversation about kangaroos, but slightly mystified by Sooky's mother feeding the children bread and brown sugar.

Norman Taurog garnered the Best Director Oscar, probably due to his fine work in guiding the young stars to such impressive performances. With the comic timing of a seasoned comedy performer, Jackie Cooper (pictured) is particularly compelling. Not only does he still hold the record for the youngest Best Actor nominee (he was nine years old!), but his nomination is the earliest of any living Oscar nominee in any category.