Showing posts with label Lost Horizon. Show all posts
Showing posts with label Lost Horizon. Show all posts

Best Film Editing, 1937

Awards presented March 10, 1938

The nominees were ... 

And the Oscar went to ... 
Considering that the movie was way over budget, that director Frank Capra shot more than a million feet of film, that its first cut was six hours long, which was trimmed to a still-gargantuan three and a half hours for the first preview, it's clear that Havlick and Milford deserved some recognition for what Capra put them through. Columbia head Harry Cohn then took over and supervised the editing down to 132 minutes. After another cut of fourteen minutes, Capra sued the studio; he finally reached a settlement, but held a grudge for the rest of his contract with Columbia. But further cuts were to come: It was pared down to 92 minutes during World War II, eliminating some anti-war elements, and during the anticommunist 1950s it lost some scenes that seemed favorable to the Chinese. Havlick was nominated two more times, both of them for films directed by Capra: You Can't Take It With You and Mr. Smith Goes to Washington. Milford, who had been nominated before for One Night of Love, later won another Oscar, for On the Waterfront. 

Best Art Direction, 1937

Awards presented March 10, 1938

The nominees were ... 


And the Oscar went to ... 
Though admirers of director Frank Capra's work have hyped Lost Horizon into something of a legendary film, it was a critical and financial disappointment at the time. It was Columbia's most expensive film to that point, and battles between Capra and cost-containing studio head Harry Cohn were intense. According to Capra's biographer, Joseph McBride, Capra shot more than a million feet of film, a ratio of ninety-three feet shot for every one used. After its first preview, it was heavily cut, and another chunk was taken out of it when it was re-released in 1943. The American Film Institute restored much of the film to its intended 132-minute length in the 1980s, using 16mm prints and supplementing missing footage with stills shown over the extant soundtrack. Those of us in the anti-Capra contingent find much of the movie dull and talky, too insistent on its message about the goodness of humanity when not corrupted by a ruthlessly competitive civilization. One thing both sides can agree on is that Goosson's sets are a remarkable expression of the streamline moderne aesthetic, though Graham Greene has a point when he observes that Shangri-la "resembles a film star's luxurious estate in Beverly Hills." (One Denver millionaire was so impressed with the designs that he had his own architect re-create them.)