Showing posts with label Sergeant York. Show all posts
Showing posts with label Sergeant York. Show all posts

Best Film Editing, 1941

Awards presented February 26, 1942

The nominees were ... 

... when they should have been ... 

Given that this film produced Howard Hawks's only directing nomination, you might be tempted to make something of Holmes's contribution to the film's success. But Holmes was just a Warner Bros. staff editor assigned to the film, and this was his only win and only nomination. Hawks freelanced his way around the studio system, and when he was subjected to a strong-willed producer like Sergeant York's Hal Wallis, his work lost some of its edge and energy. It's an entertaining movie, but at two hours and fourteen minutes a little overlong. In other words, it could have used more editing, and I suspect that if Hawks's had had his way, some of the sentimentality and flag-waving would have been excised.

... when it should have gone to ... 

Robert Wise
Given the many visual and narrative innovations of Citizen Kane, Wise would have been an obvious choice, if an ironic one: He went on to the infamous editing chore on The Magnificent Ambersons after the studio took it out of Welles's hands. And he won two directing Oscars to Welles's none. He had begun quite literally in the mailroom at RKO, then apprenticed as a sound effects editor before working as an assistant film editor. In 1939 he became the sole editor on Bachelor Mother and My Favorite Wife. His first work as a director was, again ironically, on Ambersons, for which he was called on to reshoot certain scenes to ensure continuity in the heavily edited version. In 1944 he received his first credit as director on producer Val Lewton's stylish horror film The Curse of the Cat People, after the original director Gunther von Frisch was fired from the project. 

Best Actor, 1941

Awards presented February 26, 1942

The nominees were ... 

... when they should have been ... 

Legend has it that Cooper was Alvin York's choice to play him in the film based on his heroic World War I exploits, but there is evidence to suggest that that was mere press-agentry. Cooper had been the symbol of American integrity, the quintessential strong silent type, in movies for more than a decade. He had stepped out of the ranks of extras in 1926 to take a featured part in The Winning of Barbara Worth, replacing an actor who had failed to show up for a location shoot. The following year he appeared in a small but noticeable role in the first best-picture winner, Wings, sparking "who's that guy?" comments from audiences and leading to more important roles in films like Morocco, A Farewell to Arms, and Lives of a Bengal Lancer. But it was Frank Capra who, by casting him in Mr. Deeds Goes to Town, established the Cooper persona: shy but two-fisted.  

... when it should have gone to ... 
Humphrey Bogart in The Maltese Falcon. 

George Raft had backed out of playing Sam Spade in The Maltese Falcon, giving Bogart the role that boosted him out of the pack of Warner Bros. contract players and made him one of the true Hollywood legends -- and one of the most unlikely. His co-star Mary Astor's description of Bogart captures him superbly: "He wasn't very tall; vocally he had a range from A to B; his eyes were like shiny coal nuggets pressed deep into his skull; and his smile was a mistake that he tried to keep from happening. He was no movie hero. He was no hero at all." And that very unheroic quality is what makes his Spade -- a mean little man -- so memorable.

Humphrey Bogart as Sam Spade