The British film historian David Thomson had this to say about Fred Astaire:
[I]s Astaire a movie actor? and what makes for great acting in the cinema? There is a good case for arguing that, in the event of a visit by creatures from a far universe, ignorant of the cinema, one would do best to show them some steps by Astaire as the clinching evidence of the medium's potential. Better that than the noble actors — Olivier, Jannings, Brando, Barrymore, et al. Astaire is the most refined human expression of pure cinema: the lifelike presentation of human beings in magical, dreamlike, and imaginary situations.
Or to quote another great film historian, the Mythical Monkey:
When I watch Astaire and Rogers dance, I reconsider the possibility that maybe there is a heaven after all.
Which is why I go to the movies instead of church. No, why I go to the movies as church.
Anyway, as always, my choices are noted with a ★. Historical Oscar winners are noted with a ✔.
While understanding your reasoning for Astaire, I'm going to have to totally disagree. It kills me that you went with him and the Marx Brothers over March (Les Miserables), McLaglen (The Informer), Gable (Mutiny) and Colman (A Tale of Two Cities).
ReplyDeleteFor sheer entertainment value (Captain Blood, 39 Steps, Bride of Frankenstein, Les Miserables, Mutiny, Tale) one of the best years in film history.
I missed your comment yesterday -- usually I get an email notification and didn't this time.
ReplyDeleteOn my list of potential nominees, in addition to the five I went with, I had Ronald Colman (A Tale of Two Cities), Errol Flynn (Captain Blood), Clark Gable (Mutiny on the Bounty), Fredric March (Les Miserables), Victor McLaglen (The Informer), W.C. Fields (The Man on the Flying Trapeze) and Edward G. Robinson (The Whole Town Is Talking).
I think looking at my choices, I went with what I thought were the most iconic performances of the year -- that is to say, the most recognizable to a casual fan. Generally speaking, I think one of the problems with the Oscars lately is that nobody has seen the nominees.
I.e., more Wonder Woman, less Three Billboards Outside Ebbing, Missouri.
But in any event, beyond a certain point, all the potential choices bring Oscar-worthiness to the table. After that threshold, picking my nominees is more art than science.