Showing posts with label The Good Earth. Show all posts
Showing posts with label The Good Earth. Show all posts

Best Cinematography, 1937

Awards presented March 10, 1938

The nominees were ... 
... when they should have been ... 
And the Oscar went to ... 
The plague of locusts in The Good Earth
This long, expensive, but often tiresome adaptation of the novel by Pearl S. Buck (still the only American woman to win the Nobel Prize in Literature) is not highly regarded today, in part because of its casting of Europeans and Americans as Chinese. (There were a few Asians in small roles, most notably Keye Luke.) But its elaborate re-creations of China in California are impressive. Costumes, livestock, and even whole buildings were transported from China to a location near Chatsworth. It's curious, then, that the art direction was unnominated. The award to Freund was well-deserved. He was one of cinematography's great pioneers, with a career stretching back to 1911 in Germany, where he shot such expressionist classics as F.W. Murnau's The Last Laugh and Fritz Lang's Metropolis. He came to the United States in 1929 as a consultant for Technicolor, and soon went to work for Universal, where he shot the horror classic Dracula and directed The Mummy. He then moved over to MGM, where he also shot Camille, a film for which he deserved an Oscar nomination at least as much as for The Good Earth. In the 1950s he became a pioneer in television, most notably as the head of cinematography for Desilu: He devised the three-camera setup for "I Love Lucy" that allowed the show to be filmed before a studio audience.  
Karl Freund pulls director Sidney Franklin in a rickshaw on the set of The Good Earth
Paul Muni and Luise Rainer in The Good Earth
Luise Rainer, Paul Muni and children in The Good Earth
Abundant rice harvest in The Good Earth 

Best Actress, 1937

Awards presented March 10, 1938

The nominees were ... 

... when they should have been ... 
And the Oscar went to ... 
The role of O-lan in the screen adaptation of Pearl S. Buck's novel was Oscar bait, given that it's two hours and eighteen minutes of suffering and struggling. It made Rainer the first person to win two consecutive Oscars for acting and, until Jodie Foster's wins for The Accused and The Silence of the Lambs, the only person to win two Oscars while still under the age of thirty. Unfortunately, Rainer's triumph was short-lived. MGM had trouble finding suitable roles for her, and when her marriage to playwright-screenwriter Clifford Odets hit the skids, she retired from films except for a few scattered performances over the years.    

... when it should have gone to ... 
It is, quite simply, one of the movies' definitive performances. Though you can't always see what Garbo's Marguerite Gautier sees in Armand Duval, as played by the pretty, wooden Robert Taylor, you're always convinced that she's a woman in love. And the death scene is shattering: somehow Garbo lets you see the exact moment when life leaves Marguerite. It's not only shocking that Garbo should have lost to the rather ordinary performance of Rainer (we could have put up with her losing to another definitive performance: Barbara Stanwyck's Stella Dallas) but also that the film received no other nominations, despite skilled direction by George Cukor and luminous camerawork by William Daniels. The only explanation is that MGM was determined to promote the far more expensive The Good Earth, which was seen as a memorial to its producer, Irving Thalberg, who had died in 1936 before its completion. 


Director George Cukor (standing, left) films Greta Garbo and Robert Taylor in Camille