My choices are noted with a ★. A tie is indicated with a ✪. Historical Oscar winners are noted with a ✔. Best foreign-language picture winners are noted with an ƒ. A historical winner who won in a different category is noted with a ✱.
Showing posts with label 1938. Show all posts
Showing posts with label 1938. Show all posts
Thursday, February 2, 2023
1938 Alternate Oscars
My choices are noted with a ★. A tie is indicated with a ✪. Historical Oscar winners are noted with a ✔. Best foreign-language picture winners are noted with an ƒ. A historical winner who won in a different category is noted with a ✱.
Sunday, June 24, 2018
Friday, March 16, 2018
Monday, January 16, 2012
The Katie-Bar-The-Door Awards (1938)
If you don't like Katharine Hepburn and you see Holiday and you still don't like her, you officially have my permission to give up.PICTURE (Drama)
winner: The Adventures Of Robin Hood (prod. Jack L. Warner and Hal B. Wallis)
nominees: Angels With Dirty Faces (prod. Samuel Bischoff); The Lady Vanishes (prod. Edward Black)
PICTURE (Comedy/Musical)
winner: Bringing Up Baby (prod. Howard Hawks)
nominees: Holiday (prod. Everett Riskin); Pygmalion (prod. Gabriel Pascal); You Can't Take It With You (prod. Frank Capra)
PICTURE (Foreign Language)
winner: Alexander Nevsky (prod. Igor Vakar)
ACTOR (Drama)
winner: Errol Flynn (The Adventures of Robin Hood)
nominees: Charles Boyer (Algiers); James Cagney (Angels With Dirty Faces); Robert Donat (The Citadel); Jean Gabin (La Bête Humaine)
ACTOR (Comedy/Musical)
winner: Leslie Howard (Pygmalion)
nominees: Cary Grant (Bringing Up Baby and Holiday); Tyrone Power (Alexander's Ragtime Band); Mickey Rooney (Love Finds Andy Hardy); The Three Stooges (The Columbia Pictures Short Comedies)
ACTRESS (Drama)
winner: Margaret Sullavan (Three Comrades)
nominees: Bette Davis (Jezebel); Margaret Lockwood (The Lady Vanishes)
ACTRESS (Comedy/Musical)
winner: Katharine Hepburn (Bringing Up Baby and Holiday)
nominees: Constance Bennett (Merrily We Live); Wendy Hiller (Pygmalion)
DIRECTOR (Drama)
winner: Alfred Hitchcock (The Lady Vanishes)
nominees: Michael Curtiz and William Keighley (The Adventures Of Robin Hood); Michael Curtiz (Angels With Dirty Faces); Sergei M. Eisenstein (Alexander Nevsky)
DIRECTOR (Comedy/Musical)
winner: Howard Hawks (Bringing Up Baby)
nominees: Anthony Asquith and Leslie Howard (Pygmalion); Frank Capra (You Can't Take It With You); George Cukor (Holiday)
SUPPORTING ACTOR
winner: Basil Rathbone (The Adventures Of Robin Hood)
nominees: Lew Ayres (Holiday); Lionel Barrymore (You Can't Take It With You); Claude Rains (The Adventures Of Robin Hood); Ralph Richardson (The Citadel)
SUPPORTING ACTRESS
winner: Billie Burke (Merrily We Live)
nominees: Fay Bainter (Jezebel); Spring Byington (You Can't Take It With You); Hattie McDaniel (Saratoga); Dame May Whitty (The Lady Vanishes)
SCREENPLAY
winner: George Bernard Shaw (scenario and dialogue), Cecil Lewis and W.P. Lipscomb (scenario), from the play by George Bernard Shaw (Pygmalion)
nominees: Norman Reilly Raine and Seton I. Miller (The Adventures Of Robin Hood); Dudley Nichols and Hagar Wilde, from the story by Hagar Wilde (Bringing Up Baby); Donald Ogden Stewart and Sidney Buchman, from the play by Philip Barry (Holiday); Sidney Gilliat and Frank Launder (The Lady Vanishes)
SPECIAL AWARDS
Sol Polito and Tony Gaudio (The Adventures Of Robin Hood) (Cinematography); Carl Jules Weyl (The Adventures Of Robin Hood) (Art Direction-Set Decoration); C.A. Riggs (The Adventures Of Robin Hood) (Sound); Erich Wolfgang Korngold (The Adventures Of Robin Hood) (Score); Milo Anderson (The Adventures Of Robin Hood) (Costumes); George Hively (Bringing Up Baby) (Film Editing)
Tuesday, June 28, 2011
That's Typing Tuesday #9: A Contest At Out of The Past—Your Favorite Cary Grant Movie, And Why
"That's Typing" Tuesday, in which I share unpolished, unpublished writings from my vast store of unpolished, unpublished writings. On Tuesdays.
Raquelle at Out of the Past is celebrating her fourth "blogiversary" with a contest/giveaway, a copy of Jennifer Grant's memoir, Good Stuff: A Reminiscence of My Father, Cary Grant, about, yes, her father, screen legend Cary Grant.
To enter, all you have to do is zip over to her site (here) and tell her your favorite Cary Grant movie and why. But hurry—the deadline is this Thursday, June 30.
And what is my favorite Cary Grant movie? That turns out to be a simple question to ask, a hard one to answer, especially if you, like the Monkey, are an obsessive film nut.
For example, which is my favorite depends in no small part on whether we're talking about a movie with Cary Grant in it, or a Cary Grant movie. I mean, I love The Philadelphia Story, but it's primarily a Katharine Hepburn movie, and after that a Jimmy Stewart movie. Yes, Cary Grant was in The Philadelphia Story, and Cary Grant was wonderful in it, but the truth is Cary Grant was no more than a passive bystander in his own pursuit of true love.
The same is true to greater and lesser degrees of, say, Charade or Notorious or Suspicion, which are really Audrey Hepburn, Ingrid Bergman and Joan Fontaine movies, respectively.
But then I thought about such quintessentially Cary Grant movies as The Awful Truth, Bringing Up Baby or His Girl Friday and realized those are also very much Irene Dunne, Katharine Hepburn and Rosalind Russell movies, where each of those actresses give what are arguably the best performances of their careers—they're Cary Grant movies, sure, but they're not just Cary Grant movies.
But even in North By Northwest, where he's on screen for nearly every frame of the movie, Cary Grant allows actors as different as James Mason, Martin Landau and Eva Marie Saint room to dominate the screen, even tailoring his performance to fit the style of each of those actors—across from the cool, sleek Mason, Grant is animated; with the scenery-chewing Landau, Grant is very nearly still; and sharing the screen with the silky Saint, Grant is as overtly sexy as he ever was in his career.
Which made me realize that maybe Grant's most under-appreciated skill as actor was his almost preternatural ability to play well with others. I mean, is there anyone who didn't turn in a great performance while working with him? I doubt that in the history of Hollywood there's ever been a star so well-known and so well-loved who when it counted—which is to say, when the cameras were rolling—was more generous with his co-stars.
So as my favorite Cary Grant movie, I'm choosing the one where the character he played was as generous as the man playing him, Holiday, the wonderfully bittersweet romantic comedy co-starring Katharine Hepburn.
"You've got no faith in Johnny, have you, Julia? His little dream may fall flat, you think. Well, so it may, what if it should? There'll be another. Oh, I've got all the faith in the world in Johnny. Whatever he does is all right with me. If he wants to dream for a while, he can dream for a while, and if he wants to come back and sell peanuts, oh, how I'll believe in those peanuts!"
But you ask me again tomorrow and I'll probably pick something else—Only Angels Have Wings or To Catch A Thief, maybe. In fact, maybe that's the answer: my favorite Cary Grant movie is whichever one happens to be on at any given moment.
Raquelle at Out of the Past is celebrating her fourth "blogiversary" with a contest/giveaway, a copy of Jennifer Grant's memoir, Good Stuff: A Reminiscence of My Father, Cary Grant, about, yes, her father, screen legend Cary Grant.To enter, all you have to do is zip over to her site (here) and tell her your favorite Cary Grant movie and why. But hurry—the deadline is this Thursday, June 30.
And what is my favorite Cary Grant movie? That turns out to be a simple question to ask, a hard one to answer, especially if you, like the Monkey, are an obsessive film nut.
For example, which is my favorite depends in no small part on whether we're talking about a movie with Cary Grant in it, or a Cary Grant movie. I mean, I love The Philadelphia Story, but it's primarily a Katharine Hepburn movie, and after that a Jimmy Stewart movie. Yes, Cary Grant was in The Philadelphia Story, and Cary Grant was wonderful in it, but the truth is Cary Grant was no more than a passive bystander in his own pursuit of true love.
The same is true to greater and lesser degrees of, say, Charade or Notorious or Suspicion, which are really Audrey Hepburn, Ingrid Bergman and Joan Fontaine movies, respectively.
But then I thought about such quintessentially Cary Grant movies as The Awful Truth, Bringing Up Baby or His Girl Friday and realized those are also very much Irene Dunne, Katharine Hepburn and Rosalind Russell movies, where each of those actresses give what are arguably the best performances of their careers—they're Cary Grant movies, sure, but they're not just Cary Grant movies.But even in North By Northwest, where he's on screen for nearly every frame of the movie, Cary Grant allows actors as different as James Mason, Martin Landau and Eva Marie Saint room to dominate the screen, even tailoring his performance to fit the style of each of those actors—across from the cool, sleek Mason, Grant is animated; with the scenery-chewing Landau, Grant is very nearly still; and sharing the screen with the silky Saint, Grant is as overtly sexy as he ever was in his career.
Which made me realize that maybe Grant's most under-appreciated skill as actor was his almost preternatural ability to play well with others. I mean, is there anyone who didn't turn in a great performance while working with him? I doubt that in the history of Hollywood there's ever been a star so well-known and so well-loved who when it counted—which is to say, when the cameras were rolling—was more generous with his co-stars.
So as my favorite Cary Grant movie, I'm choosing the one where the character he played was as generous as the man playing him, Holiday, the wonderfully bittersweet romantic comedy co-starring Katharine Hepburn."You've got no faith in Johnny, have you, Julia? His little dream may fall flat, you think. Well, so it may, what if it should? There'll be another. Oh, I've got all the faith in the world in Johnny. Whatever he does is all right with me. If he wants to dream for a while, he can dream for a while, and if he wants to come back and sell peanuts, oh, how I'll believe in those peanuts!"
But you ask me again tomorrow and I'll probably pick something else—Only Angels Have Wings or To Catch A Thief, maybe. In fact, maybe that's the answer: my favorite Cary Grant movie is whichever one happens to be on at any given moment.
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