Showing posts with label Red River. Show all posts
Showing posts with label Red River. Show all posts

Best Film Editing, 1948

Awards presented March 24, 1949

And the nominees were ... 
... when they should have been ... 
And the Oscar went to ... 

Police lieutenant Dan Muldoon (Barry Fitzgerald) heads the investigation of the murder of a young woman (whose corpse is alleged to have been played by Shelley Winters). This enormously influential departure from the confines of studio filming forced Weatherwax to integrate footage shot on the streets of New York City, often by hidden cameras, with more conventional staged scenes. It resulted in the first of his two Oscars in a career that began in 1928.  

... when it should have gone to ... 

The cattle drive in Red River

Nyby also edited the film's climactic fight between John Wayne and Montgomery Clift

Christian Nyby
Nyby had edited director Howard Hawks's To Have and Have Not and The Big Sleep, and the cattle drive of Red River gave him a chance to work with some demanding action footage, including a stampede. He had begun his career as an editor in 1943, but the association with Hawks spurred Nyby into a move into directing in 1951 on The Thing From Another World, which was produced by Hawks. The  Hawksian touches in The Thing have led many to assume that Nyby was only nominally its director, but the truth is that Nyby was probably a very apt pupil. He went on to a long career as a television director, and his son, Christian I. Nyby II, followed in his footsteps, sometimes on the same series on which the elder Nyby worked.   


Best Director, 1948

Awards presented March 24, 1949

And the nominees were ... 

... when they should have been ... 

This was, remarkably, Huston's first nomination and only win as director, though he also won for his screenplay. He had previously been nominated for the screenplays of Dr. Ehrlich's Magic Bullet, The Maltese Falcon, and Sergeant York, and would receive double nominations as writer-director for The Asphalt Jungle and The African Queen, a double nomination as director and producer of the 1952 Moulin Rouge, two more writing nominations for Heaven Knows, Mr. Allison and The Man Who Would Be King, a supporting actor nomination for The Cardinal, and a final directing nomination for Prizzi's Honor. He would direct fifteen performances that received acting nominations, and four that won, including his father and his daughter. (The other two are Claire Trevor in Key Largo and Humphrey Bogart in The African Queen.) Is there a more impressive film career? 

... when it should have gone to ... 
Joanne Dru and Hawks take a smoke break

Have I ranted enough about the Academy's neglect of Hawks? This seems to me the greatest of all Hollywood Westerns, with the finest performance John Wayne ever gave (with the possible exception of the one he gave in The Searchers). It has a fresh, vital, sexy performance from an actor who declined into neurosis, Montgomery Clift. And is there a greater dick-measuring scene in movies than the one in which Clift and John Ireland compare guns? It has Walter Brennan hamming it up, and a gallery of great Western supporting performers: Harry Carey Sr. and Jr., Noah Beery Jr., Hank Worden, Chief Yowlatchie, and even Richard Farnsworth in an uncredited role as one of Dunston's men. Joanne Dru is the Hawksian woman in the mix, and even if Pauline Kael has a point when she calls her "frantic" and says she "acts as if the Old West were Greenwich Village," she's still fun to watch. The cattle drive is exciting and Dimitri Tiomkin's score is stirring. What's not to like? 
John Wayne and Montgomery Clift in Red River 

Best Picture, 1948

Awards presented March 24, 1949

The nominees were ... 
... when they should have been ... 
And the Oscar went to ...
Hamlet. 

Laurence Olivier's film has not worn well. His Hamlet is a bit too given to posing and brooding, and his decision to deliver the soliloquies in voice-overs robs them of the emotional connection between actor and audience that they must have. The Freudian-influenced heavy-breathing that goes on between Gertrude (Eileen Herlie) and her son sometimes verges on silent-movie camp. (Herlie was in fact younger than Olivier.) It was the first British-made film to win the best picture Oscar, and Olivier became the first person to produce and direct himself to a best actor Oscar.

... when it should have gone to ...

Red River. 
John Wayne and Montgomery Clift in Red River
One of the greatest of all Westerns, superbly directed by Howard Hawks, beautifully filmed by Russell Harlan, with a magnificent score by Dimitri Tiomkin. John Wayne was never better, and anyone who scoffs that he wasn't an actor hasn't been paying attention to his work in this film. Montgomery Clift, in his first film (though not the first one released), is every inch a star, surprisingly believable as a tough, wiry cowpoke. The Academy, as usual, ignored it because it was a Western, though it did nominate Borden Chase's story, which he turned into a screenplay with the credited help of Charles Schnee, though the movie is so full of Hawksian touches that it's clear the master's hand was deep into the writing.