The nominees were ...
- Monica Collingwood, The Bishop's Wife
- Harmon Jones, Gentleman's Agreement
- Francis Lyon, Robert Parrish, Body and Soul
- Fergus McDonell, Odd Man Out
- George White, Green Dolphin Street
And the Oscar went to ...
 |
| Robert Parrish |
This was, regrettably, the only Oscar for Body and Soul, but it was an entirely deserved one. Lyon and Parrish's editing of the fight sequences set a standard for all future boxing films, with their shrewd pacing and apt use of crowd reaction shots. It was the only Oscar for Lyon, who, though born in North Dakota, began his film editing career in England at J. Arthur Rank Studios. He turned to directing in 1954, working mainly on B pictures before moving into television. It was also the only Oscar for Parrish, though he received another nomination for All the King's Men. Parrish had an interestingly varied Hollywood career, beginning as a child actor in 1927 and appearing in such films as Sunrise, All Quiet on the Western Front, City Lights, and The Informer. He was also an apprentice film editor on the last-named, whose director, John Ford, became a mentor; Parris worked as a sound editor as well on several of Ford's films of the 1930s and early '40s. During the war he edited several documentaries made by Ford for the War Department, including the Oscar-winning The Battle of Midway. Like Lyon, Parrish also became a director, starting in 1951 with the film noir Cry Danger. He wrote two entertaining memoirs, Growing Up in Hollywood and Hollywood Doesn't Live Here Anymore.
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