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.

Best Picture of 1951

For the first time since this project began, I am writing from Los Angeles, California, home to the Academy of this blog's title. This morning, I giggled like a schoolgirl as I drove past their idyllic-looking Fairbanks Center, a building that houses the Margaret Herrick Library. As the awards season heats up, my presence in this town for the next few days will hopefully bring more fodder for the upcoming blog posts. In the meantime, it is verdict time again.

The nominees for Best Picture of 1951 are:

• An American in Paris
• Decision Before Dawn
• A Place in the Sun
• Quo Vadis
• A Streetcar Named Desire

Similar to most Best Picture races, these films are all highly engaging, if for different reasons. The eventual winner, An American in Paris, perhaps stands apart since it is the only one to engage its audience with the use of singing and dancing. But, as always, my predilection for drama leads me to the contenders with more personal stories.

Both Quo Vadis and Decision Before Dawn use epic backdrops for their personal tales. Though still an absorbing film, the Roman epic does not shy away from extravagance and its religious themes can potentially turn some audiences off. The World War II drama is perhaps slightly more successful at keeping the focus on its characters' emotions, but it also has its flaws.

Far more personal still are A Streetcar Named Desire and A Place in the Sun, both filled with emotional tension and enhanced with superb performances that are right up my alley. The former is clearly the more traditionally renowned of the two - which does make me doubt my decision somewhat - but its unfortunate censorship lessens its impact a little. Perhaps I'll change my mind in the future, but for now, I will officially name my favourite nominee from 1951 to be A Place in the Sun.

Best Picture of 1951
Academy's choice: An American in Paris	Matt's choice: A Place in the Sun

Your choice:

As always, your vote is important, too, so let me know which of the nominees is your favourite in the poll above. Now that I'm in L.A. and have access to the UCLA Film Archive, we begin our look at films from the 4th Annual Academy Awards.

And the nominees for Best Picture of 1930/31 are:

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

Stay tuned...

1951 - Quo Vadis

It's almost hard to believe that my visit to Australia is very nearly over. Tomorrow, Kat and I fly back to the United States after a whirlwind tour of Sydney. The last couple of weeks have been all hustle and bustle as we caught up with friends and family, every meeting seeming to involve food. And for some reason, we met an inordinate number of babies for the first time, many around the eight to ten month age range. If my calculations are correct, it appears that these couples may have specifically waited for us to leave the country to conceive their children. Hmmm...

So busy was I during this trip that I am only now posting this review despite having watched this film almost a week ago. My first film of 2011 was the final nominee from 1951's Best Picture contenders...

Quo Vadis
Director:
Mervyn LeRoy
Screenplay:
John Lee Mahin, S.N. Berhman, Sonya Levien
(based on the novel by Henryk Sienkiewicz)
Starring:
Robert Taylor, Deborah Kerr, Leo Genn, Peter Ustinov, Patricia Laffan, Finlay Currie, Abraham Sofaer, Marina Berti
Academy Awards:
8 nominations
0 wins

Ancient Rome in the first century is governed by Nero (Ustinov), who acts more like a tantrum-throwing child than an emperor. After years as Nero's advisor, the far more intelligent Petronius (Genn) placates and coddles his emperor to the point of manipulation, biding his time. Marcus Vinicius (Taylor), a commander in Nero's army, returns from battle and chauvinistically pursues Lygia (Kerr), a hostage of Rome and a member of a newly-formed religious group known as the Christians. Vinicius asks his emperor if he can have Lygia as compensation for his successful military duties. What girl could resist such a romantic gesture? Lygia falls in love with Vinicius anyway, but their newfound happiness is short-lived as Nero begins to cruelly persecute the Christians and those who associate with them.

As a historical drama, Quo Vadis hits all the right notes. However, Quo Vadis is not entirely a historical drama. It is mostly a Christian allegory and, as such, can appear a tad preachy. Although, its perceived preachiness is probably dependent on the viewer's religious convictions, I suppose. Nevertheless, the allegorical content is itself engaging and, therefore, not too detrimental to the enjoyment of the film for those of a non-Christian persuasion.

It is difficult not to at least compare this picture to that other Roman epic of the 1950s, Ben-Hur. Indeed, there is a brief chariot scene in Quo Vadis, complete with drivers whipping each other and spiky wooden wheels tearing other wheels to shreds. The whole thing may well have been considered reminiscent of the Charlton Heston classic if it weren't for the fact that Quo Vadis was released about eight years prior to Ben-Hur.

In any case, the exciting action sequences are fitting for any film hoping to label itself an epic, and they are complemented by lavish sets and costumes creating a theatrically extravagant atmosphere. Only the special effects leave a bit to be desired. Due to the limited technology of the time, the blue-screen effect often leaves a blue glow around the actors, making them seem like 70s TV weathermen. Despite this unavoidable flaw, the chaos surrounding the burning of Rome is still immensely powerful.

Most importantly, the film has a very engaging story, approaching the material in a personal and emotional way despite the epic backdrop. The characters are interesting, both as written and as performed. Peter Ustinov is the standout with his hilarious yet poignant portrayal of the narcissistic emperor Nero. His right-hand man, Petronius, is played with delicious restraint by Leo Genn. Both men received Supporting Actor nominations from the Academy, boosting the film's total nods to eight, only three less than Ben-Hur's in 1959. The two films' conversion rates are a little less similar. While Ben-Hur took all but one of its nominations, Quo Vadis failed to take home any awards at all...

1951 - A Streetcar Named Desire

Happy New Year! I write this from sunny and warm Sydney, Australia. Despite the sweat glistening on my forehead, I am more than pleased to experience these hot climes because it means I have avoided the recent blizzardy conditions of New York. To ring in the new year, last night Kat and I first caught up with some friends to enjoy the early evening fireworks over beautiful Sydney Harbour with our view from a park in Lavender Bay (pictured - just imagine fireworks). We then made our way back to my parents' place to watch the midnight fireworks from an equally stunning viewpoint on their balcony.

Earlier in the week, I watched my last film of 2010, another film classic from 1951's list of Best Picture nominees...

A Streetcar Named Desire
Director:
Elia Kazan
Screenplay:
Tennesse Williams and Oscar Saul
(based on Williams' play)
Starring:
Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden
Academy Awards:
12 nominations
4 wins, including Best Actress (Leigh)

Blanche DuBois (Leigh) arrives in New Orleans and hops aboard a streetcar named Desire, making her way to the French Quarter to visit her sister Stella (Hunter). Stella's macho husband, Stanley Kowalski (Brando), immediately takes a disliking to Blanche's snobbishness and accuses her of secretly selling the family home and keeping the money for herself. When Stanley's poker buddy Mitch (Malden) shows interest in Blanche, Stanley digs around in her past to uncover all sorts of nasty secrets, creating tension between ... well, everybody.

I have a confession to make. Despite being an actor and a film buff, I had never seen this (or any other) adaptation of A Streetcar Named Desire. Even more embarrassingly, I have not seen or read the play on which it is based. I was aware, of course, of Blanche's famous last words, "I have always depended on the kindness of strangers," and of the iconic image of Stanley outside screaming, "Stella!" but somehow, I was almost completely oblivious to the plot ... which turns out to have been a bit of a hindrance.

As I've discovered over the course of this project, many films of this era find creative solutions to the restrictive censorship rules to which they were forced to adhere. However, in this instance, it seems some of the censoring occurred after the film was shot and without director Elia Kazan's approval. Consequently, there are a few relatively crucial plot points that remain slightly elusive. After I viewed the film, I read a synopsis online and was somewhat astonished to discover that Blanche had previously engaged in prostitution and that her suicidal husband was gay. To top it all off, the climactic fight scene between Stanley and Blanche turns out to have been a precursor to a rape. Mind you, everything made a lot more sense with that knowledge. I only wish that I had discerned that information while I was watching. (I suppose I should acknowledge, though, that my failure to correctly comprehend these events may also be due to the lack of focus brought on by my jet-lag.)

Unfortunate censorship notwithstanding, the picture boasts a captivating atmosphere. The story takes place during a hot Southern summer and the heat permeates the screen, both literal heat and metaphorical heat. The characters sweat from the high temperatures and also from their sexual desires, simultaneously represented by many a torn undershirt (pictured). Amplifying the heat is the sultry and steamy score. If it is at all possible for music to feel hot, composer Alex North succeeds admirably.

The first film to win three acting Oscars, A Streetcar Named Desire's performances are arguably its most striking feature. Vivien Leigh's portrayal of the pretentious Blanche DuBois at first seems merely to be a reprisal of her other Oscar-winning prissy Southern belle role, but develops into several truly touching moments. Kim Hunter and Karl Malden both won supporting role Oscars for their superbly compelling characterisations. In my humble opinion, however, it is the only non-winner in the cast who gave the standout performance. Marlon Brando's naturalistic approach to his portrayal of the intensely passionate Stanley Kowalski is a seminal example of method acting, a technique that was probably not well understood or accepted yet by the old guard of the Academy. Instead, they gave the Best Actor award to an overdue Humphrey Bogart. Nonetheless, Brando (along with fellow nominee Montgomery Clift of A Place in the Sun) delivered a performance that was influential in shaping the future of screen acting.

1951 - Decision Before Dawn

Happy holidays, everyone! On Wednesday, Kat and I will be flying home to Sydney to visit family and friends for the first time since we moved to New York a year and a half ago. That coupled with the holiday season will undoubtedly slow down the pace of Matt vs. the Academy for the moment. No fear, though. We will complete the current slate of nominees prior to my arrival in Los Angeles in mid-January, at which time I will visit the UCLA Film Archive to view the first of the 1930-31 contenders.

Today, though, I took a look at another 1951 Best Picture nominee...

Decision Before Dawn

Director:

Anatole Litvak

Screenplay:

Peter Viertel

(based on the novel 'Call It Treason' by George Howe)

Starring:

Richard Basehart, Gary Merrill, Oskar Werner, Hildegarde Knef, Dominique Blanchar, O.E. Hasse, Wilfried Seyferth, Hans Christian Blech

Academy Awards:

2 nominations

0 wins

During the final days of World War II, the U.S. Army recruits German prisoners-of-war for espionage duties. For a particularly important information-gathering mission, Col. Devlin (Merrill) assigns U.S. officer Lt. Rennick (Basehart) to accompany German soldier Sgt. Barth (Blech), codenamed Tiger. Simultaneously, Cpl. Karl Maurer (Werner), ironically codenamed Happy, is given the dangerous task of discovering the whereabouts of Germany's 11th Panzer Corps. While attempting to achieve his covert goal, Happy must also elude the Gestapo, who do not take kindly to traitors.

While it may not seem clear at first, the main character in Decision Before Dawn is Happy. There is a decent amount of set-up before we get to the crux of the film's story, in which we follow Happy as he nervously makes his way from one incident to the next, attempting to maintain under the radar. The tension in this section alone is enough to forgive the film's other flaws. Director Anatole Litvak achieves a genuine sense of loneliness for Happy. He is paradoxically an outsider living among his own kind, stranded in his home land.

I could have done without the voice-over memories, however. Whenever Happy finds a quiet moment to himself, the camera moves in closer as he directs his gaze upward and we hear the voices of those Happy has encountered repeating their important words. Granted, this clichéd convention does help to highlight Happy's isolation, but it is slightly overused here. Ditto the constant reference to cigarettes. I couldn't quite figure out the intended symbolism of all this talk about smoking. Nor could I figure out the meaning of the film's title. There are certainly decisions made during the course of the narrative, and many of them are made before sunrise, but is there one of particular importance?

Oskar Werner (pictured) delivers an effectively understated performance as the troubled German soldier, although there is a fine line between the character appearing stoic and the actor appearing dull. Fortunately, Werner leans towards the former. Richard Basehart and Gary Merrill as the American officers portray mostly stereotypical machismo. As such, the German actors shine, especially Wilfried Seyferth as the punchy SS courier.

Despite all my nit-picking, Decision Before Dawn remains an engrossing film and well worth a look.