Alternate Best Actor 1937: Results

5. Claude Rains in They Won't Forget- Rains does his best and puts a great deal of effort in his performance, but his character unfortunately is paper thin.

4. Victor Moore in Make Way For Tomorrow- Moore gives a moving quiet performance of a man who witnesses society pass him by.

2 . Stan Laurel and Oliver Hardy in Way Out West- There is no reason to separate them as together they create the greatest comedy duo ever, and show well there unique talent together in this film. ( In the overall rank I merely put them in alphabetical order.)

1. Cary Grant in The Awful Truth- Grant gives an entertaining and enjoyable performance that is a terrific example of his abilities as the lead of a romantic comedy.

Overall Rank:

1. Robert Montgomery in Night Must Fall
2. Cary Grant in The Awful Truth
3. Oliver Hardy in Way Out West
4. Stan Laurel in Way Out West
5. Fredric March in A Star is Born
6. Ronald Colman in Lost Horizon
7. Victor Moore in Make Way For Tomorrow
8. Charles Boyer in Conquest
9. Paul Muni in The Life Emile Zola
10. Freddie Bartholomew in Captains Courageous  
11. Claude Rains in They Won't Forget
12. Paul Muni in the Good Earth
13. Roland Young in Topper
14. Cary Grant in Topper
15. Edward Norris in They Won't Forget
16. Spencer Tracy in Captains Courageous 
17. Jon Hall in The Hurricane

Next Year: 1974

Alternate Best Actor 1937: Cary Grant in The Awful Truth

Cary Grant did not receive an Oscar nomination for portraying Jerry Warriner in The Awful Truth.

Cary Grant never received an Oscar nomination for a comedy role not even for this role in this film which won Best Director, and both his leading lady Irene Dunne, and his supporting foil Ralph Bellamy were nominated, but he was not. Interestingly enough when they teamed up again for the weepie Penny Serenade Cary Grant was nominated and Irene Dunne was not. For whatever reason even when the film was as popular with the academy as this one, they never cared for Grant in a comedic role. They only could accept him as a nominee when he was being serious which certainly is too bad.

Cary Grant here is in prime form as the husband of a soon to be divorced couple. It is not that Jerry and Lucy (Irene Dunne) hate each other that brings them to this point but rather odd behavior from both of them leads both to believe there is infidelity going on. They get the divorce that will take place after a grace period during in such the two seek other romantic interests, and the film is pretty much set up as first Jerry sabotaging Lucy's attempt with the simple southerner Dan (Bellamy), than afterwards Lucy sabotages Jerry's attempt with an heiress.

Grant has quite a bit of fun with his role in his half of the sabotage, as he purposefully moves against her rather simple beau. He does this with simple jabs at him, and rather small gestures that always seem to say that Dan simply is not in the same league as Jerry. Grant is extremely good in just being the being the most cunning one in the room as he constantly does his best to humiliate Lucy, and ruin her chances away from him. His timing is always terrific, and his energetic never falls short of bringing to life the humor of any scene.

Grant though is equally good though in the scenes where he forced to be the one who gets the shorter end of the stick, when Lucy gives him an ample taste of his own medicine. His reaction to her behavior that is quite a bit similar to his earlier behavior to her is excellent as the two of them switch places. His reaction of a sort of bemusement as well as sometimes complete surprise at the extent she goes to prevent him. Grant's reactions are always quite amusing as Jerry is taken aback by Lucy's behavior which is only mirroring his own.

I would say though most important aspect of his performance as well as Dunne is of course there chemistry. In that they both bring to life their relationship in just the right fashion. Firstly their divorce, and their game of ruining each other's romantic affairs are always kept lightly comedic by both actors, never in any way making it seem unpleasant. Equally to their credit though they always manage to put just the right degree of weight in their performance. 

This is not that either actor makes the situation at all serious but the two bring about the idea that the two are a married couple that do actually love each other. Both show their reactions to properly betrayal and neither make it as so they are completely heartbroken, but the two do stress the idea that they do care even behind all the humor. It is rather subtly portrayed by both behind their more comedic reactions, the two have just the right emphasis in the scenes together that the two still have a connection with one another.

This connection is the reason why both of their best moments really come in their silent looks they give to one another. They are both terrific in conveying that the two absolutely do know each other far too well, and when one or the other are pulling a trick the two actually are quite genuine in their response, even though they can be quite funny as well. Grant and Dunne simply make the most about the relationship between the two, and really they are able to make the ending properly a forgone conclusion.

I should say Cary Grant's performance on its own is a charming performance that is very enjoyable to watch, but what does make it special is his chemistry with Irene Dunne's terrific performance. The two together make this film the delight that it is because of how well the play off each other in every one of their scenes. Alone though this is not Cary Grant's very best performance in this genre but it is still an entertaining one that shows his great abilities as a romantic comedy leading man.

Alternate Best Actor 1937: Claude Rains in They Won't Forget

Claude Rains did not receive an Oscar nomination for portraying Andy Griffin in They Won't Forget.

They Won't Forget is a sometimes effective although also very flawed film about a college professor from the North who is put on the trial for the murder of one of his students in the South.

Claude Rains portrays the district attorney who takes the case, and wants to make it big important conviction for himself to further his political career. Rains although in a way portrays the villain in that Griffin is always very concerned about his career rather than seeking justice. Although to be entirely fair to his character the evidence does not suggest that the professor was obviously innocent or obviously guilty. The sentiment that is created by the atmosphere within the town though makes it clear that innocent or guilty the professor will not really be given a fair trial.

Claude Rains as usual is efficient in the role as the attorney making it clear that Griffin will win the case, and meet his ambition no matter what. Rains at first shows Griffin more than anything is being professional as he handles various town people who want him to do certain things. Rains shows a constant assurance that no matter what Griffin will be doing things his way, even if it does meet someone else's end, it is all still is all part of his own ambition. Rains makes it obvious that Griffin is a powerful force that will see the man found guilty through his skill as an attorney.

A great deal of screen time comes in when he is handling the courtroom scenes. Rains again is effective here as he shows the statesman aspect of Griffin leaves as he purposefully becomes a firebrand to keep passions high to ensure conviction. Rains is energetic here as he portrays the fierce nature of Griffin as an attorney as he cuts to the throat every moment in court. Rains is strong here although I would say that he is never quite as amazing in this way as he was in similar moments in Mr. Smith Goes to Washington.

I have to say that Rains does his very best but unfortunately the film sort of lets his portrayal down. Rains really wants to make the character complex more than the film wants to. Rains tries his best to show Andy Griffin as a man with an ambition but not an evil man, the film pretty much does want him to be a one dimensional villain. Rains deserves credit though for trying to convey some sort of internal struggle at the end in Griffin over his actions, but the film frankly does not care as it suggest through the script that Griffin does not really care in the end.

Claude Rains really has to deal with a character that is less complex than he should be considering Rains takes every attempt to bring more to the character, but the film never allows him to go off on any of these complexities he tries to bring to life. Due to this problem Rains does not give a performance that is in line with his later greater work. Rains though still does try to make the most out of his performance, and gives an fairly effective performance even if it is not all that memorable of one.

Alternate Best Actor 1937: Oliver Hardy and Stan Laurel in Way Out West

Oliver Hardy and Stan Laurel did not receive Oscar nominations for portraying Ollie and Stan in Way Out West.

Way Out West is a very enjoyable comedy in the Laurel and Hardy cannon as the two attempt to bring a deed to a successful mine to its rightful owner.

I am not reviewing these separately because it never for a moment crossed my mind and it is impossible for me to talk about one performance without talking about the other. They are through and through a team so much so that after Hardy died Laurel refused to ever be in a film again because he could not share the screen with Hardy. They are the greatest comedic duo of all time as far as I am concerned, and they are easily my favorite of the early film comedians. There is something though I should note that in all of the performances together as the pair Laurel and Hardy, or at least all that I have seen so far, they always play the same characters Ollie and Stan.

Although their films can result in many different situations and sometimes result in the death of at least one of them, they are always ready for another go in the very next film. They always a pair of seemingly downtrodden fellows who are always more than happy to help others even if it can be quite detrimental to themselves, or as well they can find an opponent they must deal with. In any situation craziness is sure to ensue as well as hilarity. I will only review them here together only because their roles are rather consistent, as they should since their comedy never gets old, and I chose this film simply because it is one of the very best examples of their talents.

This time they head into an old west town to get a deed to its proper owner and of course run into plenty of trouble a hilarious slapstick humor on their way their. I should say one thing that makes the two's humor work so marvelously is how gentle they are well suffering all sorts of physical pain. Both Laurel and Hardy never stop being soft spoken in any situation and their gentlemanly manner that both carry so well is just hilarious. They take every fall just so well that makes it as easy as possible through and through, and their resolve to push through in a completely pleasant fashion makes them just so likable.

I should take each of them at a time and I might as well start with the simpler (dumber) of the two Stan. Laurel face is absolutely priceless in just his simple expression of the lack of thought inside of his head at times. Laurel has a certain matter of fact quality to his performance that every thing that Stan does whether it is taking joy in eating a hat, nonchalantly lighting his thumb on fire, or seeing his friend fall mysteriously into water that seemed shallow a second ago Laurel always shows it to be nothing at all out of the ordinary for Stan despite how strange his abilities might at time.

As for Ollie Hardy shows Ollie to have quite a bit more of a sense about what is going on although he takes pretty much everything in stride, and at worst gives Stan a little push. Hardy is equally terrific in being the man taken aback though by everything happening whether it is with a loud yell from a fall, a quick polite hand gesture in an awkward situation, or his hilarious stares toward the camera when reacting to Stan. Hardy just delivers one great reaction after another with his performance always playing off Laurel in perfect harmony resulting in comedic greatness.

These two never fail to bring a smile to my face in any situation. Their comedic timing has few rivals and they always amplify every physical gag through their spot on facial or physical reactions. They are equally strong though in their kindly banter between the two with Hardy's displaying Ollie's more proper manner in speaking that plays off well against Laurel's depiction of Stan's rather more blunt method at times. They are both hilarious and equals in almost every way but one which is that Hardy is a far more talented singer, but still though both wonderful in their entertaining rendition of "The Trail of the Lonesome Pine".

These two are simply a joy to watch throughout the film. The only problem is how I could possibly rate their performances. They are both perfect in their depiction of Stan and Ollie. Sure their performances are not technically original in that they are playing parts, their performances never get old. These two are giving their very best, which they consistently did through every performance, although I would say this film is an especially strong example of their talent.  I am a bit torn as giving them a five might seem unfair to actors portraying completely different characters and portraying more of an arc, but giving them less for being so good at exactly what they should be good at seems unfair as well. I am going to have think more about this I must say and right now for the moment I will just say I love both of these performances. (Updated I will settle for 4.5 great performances but technically speaking not ground breaking).

Alternate Best Actor 1937: Victor Moore in Make Way For Tomorrow

Victor Moore did not receive an Oscar nomination for portraying Barkley "Pa" Cooper in Make Way For Tomorrow.

Make Way For Tomorrow is an excellent and very moving film about an elderly couple who must separate after they lose their home, and none of their children will take both of them in.

Victor Moore portrays the father, and Beulah Bondi portrays the mother. The film all it jumps back and forth between the two it does mostly focus on the mother during the separation, but Moore does have a few scenes as well. Moore is very quiet in the role of Pa Cooper as he is mostly seen sitting and speaks in a slow meticulous fashion. Moore is actually quite good in being older than Moore really was at the time through just the time he takes in doing just about anything, and Moore effectively conveys the age of Barkley extremely well.

The key aspect of his character that Moore really focuses on in his portrayal is how hard Barkley is on himself. He is constantly making fun of himself, as well as sadly reflecting on the past on what he really did wrong. Moore is very blunt about this, and seems to almost actively avoid being flamboyant about it. He is actually very depressing here because of just how calm he is in conveying the regret he is always feeling. It is not something that just comes and goes his guilt over mistakes is something that is always bearing down with him at all times.

Moore performance though is not only a depression though as Barkley attempts to make jokes all the time although usually it is at his own expense. Of course really this moments are just as sad as the rest as Moore shows every joke of Barkley's to be no more than a rather feeble attempt to hold off the heartbreak he feels from being separated from his wife. Moore only portrays the shortest moments of joy in his face after any moment, there is never long that the same quiet self loathing takes back over.

The most important moments of his performance come in the final act where Pa and Ma Cooper meet for one last time before separating which is very likely for the last time. Moore and Bondi have an unique and very moving chemistry together. Although they never espouse their love in loud fashion there is always an undercurrent of it created magnificently by the two actors. They are still very quiet together to the very last moment, and they never compromise the characters.

They show both the genuine love between the two, but as well the sorrow both feel even though they are always trying to hide it. Both lead to the final moments of the film wonderfully to make a very heartbreaking and memorable depiction of the two soul mates forced to separate by circumstance. Moore gives a good performance here, although I will say what makes this film as strong as it is is the uncompromising direction by Leo McCarey that never falls into sentiment or melodrama, Moore to his credit does well in aiding in the powerful whole of this film through his realization of tragic man left behind by society.

Alternate Best Actor 1937

And the Nominees Were Not:

Oliver Hardy in Way Out West

Stan Laurel in Way Out West

Cary Grant in The Awful Truth

Claude Rains in They Won't Forget

Victor Moore in Make Way For Tomorrow