Best Picture of 1946

It's always a little difficult writing a verdict when I've left so long in between the first and last film viewings of a review year because I barely remember the first film any more. Thankfully, though, this is a blog, so I can just read my posted thoughts on each film to refresh my memory. Funny how that works.

The nominees for Best Picture of 1946 are:

• The Best Years of Our Lives
• Henry V
• It's a Wonderful Life
• The Razor's Edge
• The Yearling

This shortlist is heavy on classics and, with a diverse range of subject matter, no two are particularly alike, either. From a Shakespeare adaptation to a coming-of-age drama to the ultimate feelgood Christmas flick, it's quite a mixed bag.

The Yearling was probably my least favourite, though certainly not unworthy of its recognition as a Best Picture nominee. The Razor's Edge, too, is fine but the melodrama prevents it from being at the top of my list. Third to go is Henry V. I thoroughly enjoyed the cleverness of Olivier's adaptation but there's sometimes an unfortunate language barrier to Shakespearean works that makes it difficult to remain constantly absorbed.

That leaves two and it's a close call. The Best Years of Our Lives was the Academy's pick and I enjoyed it immensely - a nice mix of drama and comedy. But ultimately, I'm siding with the picture that has justifiably become a mainstay of Christmas season. Therefore, my favourite nominee from the Best Picture race of 1946 is the utterly charming It's a Wonderful Life. 

Best Picture of 1946
Academy's choice: The Best Years of Our Lives	Matt's choice: It's a Wonderful Life

Your choice:

I'm interested to find out what your favourite was, too. Cast your vote above. As I mentioned a few blog posts ago, the trend of me starting a new year of review due to a local screening continues. Last week, I caught an event hosted by the Academy itself, which I'll discuss in my next post. Due to said screening, we'll now be shifting to a rare 12-nominee year and discussing the films of 1935.

And the nominees for Best Picture of 1935 are:

• Alice Adams
• Broadway Melody of 1936
• Captain Blood
• David Copperfield
• The Informer
• Les Misérables
• The Lives of a Bengal Lancer
• A Midsummer Night's Dream
• Mutiny on the Bounty
• Naughty Marietta
• Ruggles of Red Gap
• Top Hat

Another mixed bag. Maybe even mixier. Stay tuned...

1946 - Henry V

Well, I've got a verdict post to write, as well as the first post of the next year of review, so let's move this right along.

Our final film in the race for 1944's Best Picture is...

Henry V
Director:
Laurence Olivier
Screenplay:
Laurence Olivier, Dallas Bower, Alan Dent
(based on the play by William Shakespeare)
Starring:
Laurence Olivier, Renée Asherson, Robert Newton, Leslie Banks, Felix Aylmer, Esmond Knight, Leo Genn
Academy Awards:
4 nominations
0 wins, plus 1 Honorary Award

Young King Henry V of England (Olivier) believes that France is rightfully part of his domain, and after being teased by the French, he begins a military campaign to claim their throne. His troops successfully take Harfleur, but at Agincourt, they are vastly outnumbered. Victory will be hard won here, testing Henry's skills as a strategist, a leader, and even an orator.

Henry V begins with the clever conceit that we are actually watching a filmed version of the play being performed in Shakespeare's time. There's a rowdy audience; the actors bow after each scene; we even see what goes on backstage on occasion. The on-stage narrator (or the Chorus, as Shakespeare named him) often apologises for the inadequacy of a stage production in being able to truly represent the grandness required of the story, asking us instead to use our imaginations to see the sweeping fields of France or the extravagant court of the English King.

And here's where Olivier gets really clever. About half an hour into the film, gone are the small stage sets, along with the theatrical entrances and exits, and we suddenly find ourselves watching the same characters on location instead. No longer do we need to imagine the scenery because we can actually see it in all its Technicolor splendour. In addition, the Chorus now addresses the camera and the soliloquys are presented in voice over as if they are true internal monologues. Shakespeare knew his medium didn't entirely have sufficient means to tell this story and, in a truly masterful stroke, Olivier appropriately adapted it to a medium that did.

At the end of the film, we return to Shakespeare's stage to hear the audience applaud as the actors take their bows. This perhaps suggests an additional metaphor at play. By bookending the film with scenes from a theatrical production, Olivier is maybe offering his take on the theatre's ability to transport its audience. All the scenes in between those bookends represent how we can truly get lost in our imagination as we watch the players on stage.

And there are indeed some spectacular sequences, in particular the Battle of Agincourt. The action is dramatically staged on wide open fields with seemingly hundreds of medieval soldiers in a breathtaking melee of swords and arrows. Perhaps the only detraction from this powerful sequence is the somewhat fake-looking matte paintings in the background.

The film boasts a stellar cast of experienced Shakespearean actors, led by one of the theatre world's greatest knights, Laurence Olivier (pictured). Olivier garnered himself a Best Actor nomination from the Academy as well as one for producing a Best Picture contender. He didn't win either of those (nor did the film win its other two nominations), but the Academy bestowed a Special Award on him anyway for his "outstanding achievement as actor, producer and director in bringing Henry V to the screen".

1946 - The Yearling

This is beginning to be a bit of a pattern. I neglect the blog for several months and then I notice there's a local screening of a Best Picture nominee, so I book myself a ticket, but because the screening is of a film in a different year of review than the one I'm currently working on, I'm forced to watch a number of films in quick succession in order to complete the current year of review before going to the screening. So, here we are again.

With two films remaining in 1946's Best Picture race, here's a look at...

The Yearling
Director:
Clarence Brown
Screenplay:
Paul Osborn
(based on the novel by Marjorie Kinnan Rawling)
Starring:
Gregory Peck, Jane Wyman, Claude Jarman Jr., Chill Wills, Henry Travers, Forrest Tucker
Academy Awards:
7 nominations
2 wins

In the latter part of the 19th century, 11-year-old Jody (Jarman) lives with his parents, Penny (Peck) & Ora (Wyman), on their farm in rural Florida. As the family struggles to make ends meet, Jody longs for any kind of pet to play with. Ora, who shows little love for her son as a coping mechanism for the three other children she lost, is against the idea, but she's overruled by Penny when Jody brings home an orphaned fawn (whose mother's death Penny happens to be responsible for). The boy and the young deer grow close, but Jody struggles to keep the wild animal under control.

The first thing you notice about The Yearling is its striking Technicolor cinematography. Maybe it's because it still seems like a novelty to see colour films from the 1940s (not that they were all that rare) instead of the usual muted black-and-white tones, or maybe it's just the fact that green foliage and babbling brooks feature very prominently throughout the picture, giving it an almost nature documentary feel, but whatever the reason, it's genuinely beautiful. Indeed, the Academy must have agreed because the only two Oscars the film won (out of seven total nominations) were for Best Color Cinematography and Best Color Art Direction.

Perhaps another sign of the times is how a film with such a depressing ending was considered a "family" film. To be fair, the first two hours of the film are indeed mostly family fare, as well as quite obviously a coming-of-age story, but that finale is squarely on the darker end of the coming-of-age spectrum.

As expected for this period, most of the acting is rather superficial, especially the kids, and even more especially Claude Jarman Jr (pictured). That said, it's probably not his fault that he was directed to literally leap through the woods on several occasions and he essentially has to carry the film after all, so I suppose he does a decent enough job all things considered. The Academy certainly thought it was a noteworthy performance since they gave him the Juvenile Award for "outstanding child actor of 1946". Technically, the film itself wasn't cited so it's not officially counted as an 8th nomination, which is a little odd considering it was the only film Jarman was in that year. As Jarman's parents, Jane Wyman and Gregory Peck have some more natural moments. Peck, in particular, proves how gifted a naturalistic actor he is, much more subtle than most of his contemporaries.

And then there are the animal actors. I'm sure several different deer shared the title role and they're all adorable. They also seem to follow directions surprisingly well, which is either a testament to the trainers or the editors, probably both. An early scene also features a pretty vicious (and spectacular) fight between a bear and two dogs that made me wonder how ethical the filmmakers were, but the now familiar "no animals were harmed" disclaimer is indeed included in the end credits and, after some cursory research, it seems that American Humane began monitoring animal use in films in the early 1940s, so I guess it checks out.

1946 - It's a Wonderful Life

Just over two weeks now until the Oscar nominations are announced, so let's take a quick look at how the lead acting categories are shaping up. Gary Oldman was the early frontrunner for the Best Actor prize for his transformation into Winston Churchill in Darkest Hour. However, 22-year-old Timothée Chalamet could give him a run for his money due to a star-making performance in Call Me By Your Name. He'd be the youngest winner in that category by several years if he can pull it off. Tonight's Golden Globes (which are in progress as I write this) may boost one of their chances since they're competing against each other in the Best Actor in a Drama category.

The Globes may also provide some insight into the Best Actress race, which is much more unclear at this stage. Sally Hawkins probably has the most buzz so far for her role in The Shape of Water, but Frances McDormand (Three Billboards Outside Ebbing, Missouri) and Saoirse Ronan (Lady Bird) have both garnered attention, too. And you can never rule out Meryl Streep (The Post) or her British Oscar-bait counterpart, Judi Dench (Victoria & Abdul), though they probably have a more uphill battle.

Back to the 1946 Best Picture race. The next nominee is a staple of Christmas television, and even though we're already a week into the new year, I did indeed watch it (not for the first time) a few days after Christmas, so try to hang on to what's left of your festive spirit as you read my thoughts on...

It's a Wonderful Life
Director:
Frank Capra
Screenplay:
France Goodrich, Albert Hackett, Frank Capra, Jo Swerling
(based on a story by Philip Van Doren Stern)
Starring:
James Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, Henry Travers, Beulah Bondi, Frank Faylen, Ward Bond, Gloria Grahame
Academy Awards:
5 nominations
0 wins

Christmas Eve in Bedford Falls and it seems like almost everyone in town is praying for George Bailey (Stewart) to get a lucky break. God answers those prayers by assigning a fledgling guardian angel named Clarence (Travers) to prevent George from taking his own life. In preparation, Clarence is shown a recap of all the important moments in George's life.

As a young boy, George shows his heroism and honesty. As a young man, he vows to get out of Bedford Falls and accomplish big things. But his plans are thwarted when his father unexpectedly passes away, leaving George in charge of the family's building and loan company. Through the following years, George's dreams slip further and further away, always seeming to take a back seat to his obligations.

Has there ever been a more charming movie than It's a Wonderful Life? A charming story, set in a charming town during a charming time of year with charming characters, this is feel-good cinema in its purest form, the epitome of the classic Hollywood film. Even seven decades later, it all holds up. The script is delightful, a mix of witty dialogue and heartwarming drama, wrapped up in a fantastically creative structure. Perhaps unexpectedly for a film that attempts to be so many different things, It's a Wonderful Life actually succeeds in being a well-rounded picture, finding the perfect balance of each of its elements and covering the gamut of human emotion. There's heart, there's drama, there's humour. Plus, there's some high concept fantasy, a plot device that can so often fail, but is executed perfectly here, never becoming so silly that it diminishes the dramatic realism.

It's impossible to imagine anyone but James Stewart in the role of George Bailey. As arguably the most affable movie star of all time, he embodies the selflessness and wide-eyed ambition of George wonderfully, earning himself a Best Actor Oscar nomination in the process. He's supported by a cast of wonderful actors, including Donna Reed as his supportive wife, the always delightful Thomas Mitchell as his uncle, a wonderfully slimy Lionel Barrymore as the town's rich bully, and the beautiful innocence of Henry Travers (pictured) as the rookie angel.

Along with its Picture and Actor nominations, the film garnered nods for its director Frank Capra (who had already won three Best Director Oscars by this point), as well as for its Film Editing and Sound Mixing, bringing its total nods to five. Sadly, though, this classic walked away with no wins at all.

1946 - The Razor's Edge

This year's Oscar race is heating up. Most of the critics associations have weighed in with their picks, and the Golden Globes and SAG Awards nominations have been announced as well, so a few frontrunners are emerging. Probably the surest shot at this early stage is in the Best Supporting Actor category. After an esteemed career to date, including two prior Oscar nominations, it seems like this could be Willem Dafoe's year for his performance in The Florida Project. Meanwhile, the Supporting Actress contest is shaping up to be a battle between two horrible mothers - Laurie Metcalf in Lady Bird and Allison Janney in I, Tonya. Both are almost guaranteed to earn their first Oscar nominations next month with the scales leaning towards Metcalf for the win.

And now we shift our attention back to the next 1946 Best Picture nominee...

The Razor's Edge
Director:
Edmund Goulding
Screenplay:
Lamar Trotti
(based on the novel by W. Somerset Maugham)
Starring:
Tyrone Power, Gene Tierney, John Payne, Anne Baxter, Clifton Webb, Herbert Marshall
Academy Awards:
4 nominations
1 win, for Best Supporting Actress (Baxter)

Larry Darrell (Power) returns home from World War I, lucky to be alive after a fellow soldier made the ultimate sacrifice to save him. The event has left Larry traumatised and confused, so much so that he turns down job offers in order to simply loaf around and live off his modest inheritance, something his fiancee Isabel (Tierney) can't quite comprehend. Despite not truly being on board with it, Isabel agrees to postpone their nuptials so that Larry can spend an unspecified amount of time in Paris to clear his head.

The Razor's Edge is squarely in the melodrama genre. High emotion, high stakes, high society. That said, it's captivating melodrama, so while the events are like something out of a soap opera, we remain connected to the characters and their futures. The picture begins with a whirlwind of character introductions, making it initially tough to follow. This is somewhat confounded by the fact that W. Somerset Maugham (the author of the source material) is presented as a character within the narrative, though always on the outskirts of the main action. It's an interesting plot device that works nicely in its own right, but since the audience identifies predominantly with him in the opening scenes, it's unclear at first who the actual protagonist is. Though, to be fair, even by the end of the film, none of the characters really turns out to be wholly protagonist material. As expected in melodrama, each of the characters often see-saws between likable and not.

Despite some heavy-handed dialogue (another hallmark of melodrama), I did enjoy the old-timey slang. When Isabel's uncle is trying to console her after Larry leaves, he promises her that she soon "won't care two straws for him." Later, on a different topic, he exclaims, "I don't care a row of beans." People back then sure had a long list of random, unimportant things they didn't care about.

The cast of The Razor's Edge is uniformly great, delivering cleverly nuanced performances that make us forget how melodramatic the material is. Tyrone Power, in particular, manages to avoid portraying Larry as one-dimensionally meek, despite his being existentially lost for most of the story. Instead, Power instils his character with strength and a confidence that he's got it all together, even when he clearly doesn't. Gene Tierney is also outstanding, swinging back and forth between vulnerable and selfish. And while Anne Baxter (pictured) is admittedly a little showy (not unexpected for 1946, especially in a melodrama) as the scorned alcoholic, she remains utterly watchable. I also particularly enjoyed Lucile Watson's charmingly witty and strong performance, despite a small role.

Apart from its Best Picture nod, the film was also cited for Art Direction and two supporting performances, Clifton Webb and Baxter, the latter earning the film's only Oscar.

1946 - The Best Years of Our Lives

We now come to the impetus for my recent productiveness on this blog. Last week, one of L.A.'s premier revival cinemas, The New Beverly, held a screening of the eventual winner of this year of review. I've written briefly about the New Bev before and I only wish I had the time to visit it more often. After three years in L.A., this marks only the second time I've been.

In any case, here's my take on 1946's successful Best Picture nominee...

The Best Years of Our Lives
Director:
William Wyler
Screenplay:
Robert E. Sherwood
(based on a novel by MacKinley Kantor)
Starring:
Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, Virginia Mayo, Cathy O'Donnell, Hoagy Carmichael, Harold Russell
Academy Awards:
8 nominations
7 wins, including Best Picture, Best Director, Best Actor (March), Best Supporting Actor (Russell)

As World War II comes to a close, three American servicemen meet for the first time on the return trip to their hometown of Boone City. Al Stephenson (March) reluctantly returns to work at his old banking firm while attempting to reconnect with his wife, Milly (Loy). Meanwhile, Fred Derry (Andrews) struggles to find any work at all, disappointing his wife, Marie (Mayo). The pressure puts a strain on the relatively new marriage, as does Derry's falling for Stephenson's daughter, Peggy (Wright). Lastly, Homer Parrish (Russell), who lost both his hands during the war, deals with his own feelings of inadequacy.

A touching story of how returning servicemen cope when rejoining civilian life, The Best Years of Our Lives contains a healthy dose of moving drama, as expected, but it's also rich in humour. That's exactly my cup of tea, so it's fair to say I enjoyed this picture quite a bit. Granted, more modern takes on this theme, like Coming Home and Born on the Fourth of July - both of which will be covered on this blog eventually - may dig deeper, but this was the 1940s after all, so a little overly sweet melodrama was just the style of the day. Likewise, the comedy can be a bit broad and unrealistic, but it's still genuinely funny, which is the important thing. I saw the movie with what I can only assume was a room full of like-minded classic film buffs and there were several moments in which the entire audience erupted with laughter.

The film is blessed with a fantastic ensemble cast. There's really not a lemon among them. Fredric March is frequently hilarious, yet genuine when appropriate, earning himself his second Oscar for Best Actor. Myrna Loy and Teresa Wright are both delightfully cheeky, excelling at their sarcastic delivery. Kudos also to screenwriter Robert Sherwood for giving them all such witty things to say.

And then there's Harold Russell, a real-life WWII vet and amputee who was not an actor, though you might not know it because he definitely holds his own among this cast. Perhaps he's a little stiff in the really dramatic scenes, but he laps up the casual banter of his character like a pro.

Interestingly, only two years earlier, Barry Fitzgerald became the first and only actor to be nominated twice for the same performance: Best Actor and Best Supporting Actor for Going My Way. The Academy changed its rules so that could never happen again, yet two years later, they befittingly decided to bestow an honorary award onto Harold Russell for "bringing hope and courage to his fellow veterans" fearing he probably wouldn't be successful in his Best Supporting Actor nomination. Lo and behold, he ended up winning the trophy, making him the only actor to actually be awarded two Oscars for the same performance. That's him pictured above with his double golden statues.

All in all, the film itself closed out Oscar night with a pretty impressive strike rate. Not including Russell's honorary award and producer Samuel Goldwyn's Thalberg award, the film won seven of its eight nominations, only missing out on Best Sound.