Best Supporting Actor 1937: Results

5. H.B. Warner in Lost Horizon- Warner is perfectly fine in his role as the knowledgeable mysterious man, but it never makes a memorable impact on the film.

4. Roland Young in Topper- Young is okay throughout the film and except for an occasional moment here or there Young never finds just the right way to be a straight man.

3. Ralph Bellamy in The Awful Truth- Bellamy unlike Young does find the right way to be the straight man in his film, and gives a fairly enjoyable performance.

2. Joseph Schildkraut in The Life of Emile Zola- Schildkraut's role is exceedingly limited but he always does make an impact with his passionate and moving performance.

1. Thomas Mitchell in The Hurricane- Good prediction moviefilm. Mitchell wins this year, and yes my first five wins are shared among only two actors. Mitchell gives a strong performance where he is always an energetic, entertaining and charming presence as well as really brings the tragedy at the center of the film to life.

Deserving Performances:
Jean Hersholt in Heidi

Best Supporting Actor 1937: Thomas Mitchell in The Hurricane

Thomas Mitchell received his first Oscar nomination for portraying Dr. Kersaint in The Hurricane.

The Hurricane is a disaster film about a destructive hurricane strikes climatically while a native fugitive Terangi (Jon Hall) tries to escape the authorities to reach his wife (Dorothy Lamour).

I must say it is interesting that Thomas Mitchell was nominated twice, twice as Best Supporting Actor in a John Ford film as a doctor who probably likes his drink just a little too much. I suppose why not have Mitchell is a supportive role as a doctor as it allows him in multiple scenes and Mitchell is an actor who almost always throws a lot of energy into a role. Also why not make him drunk, no one quite plays a drunk like Thomas Mitchell does. Also despite the roles being very very similar Mitchell does not feel like he is just repeating himself in either role.

Mitchell from his very first scene has a serious dedication to the part and brings a much needed weight to the role of the doctor. His opening scene sets the mood as he indicates the loss that will occur later on in the film. Right in Mitchell faces conveys the entire tragedy of the film's finale. His shows a genuine human loss in the doctor's eyes in this moment, as well as his history with the island, a history of a home he once loved, but was all lost in the blink of an eye. It is really a wonderful moment for Mitchell, and it is interesting as Mitchell really shows where the resolution of this man will be in the opening scene of the film.

For the rest of the film Mitchell is almost part of the scenery as the doctor of the strict governor of the region (Raymond Massey). Mitchell basically steals every scene, no that's wrong, Mitchell does not basically, he does steal every scene he is as the doctor. He just a always a perfectly lively and charming presence as the sensible doctor who tries to convince the governor that his strict ways really is not the best way to rule the people of the island. Mitchell as well flawlessly shows the understanding, and intelligence of the doctor. Mitchell manages to make the doctor always the most entertaining, interesting, and intelligent man in any room he is in.

Mitchell does also, despite the limitations on his role, make a character of the doctor who is a drunk for rather different reasons that Josiah Boone. This doctor really is a man, although he knows the people does have some desire for some greater position in life, that makes him drink his days away on the rather limited place of the island. Mitchell shows him not to be an alcoholic like Josiah Boone who was filled with uncertainty, rather Mitchell shows that Doctor Kersaint is really just a drunk since he finds that he just does not have anything better to do. Also it should be said again Mitchell is perfect at playing drunk, somehow he is comical without being over the top and cartoonish.

A great deal of the time Mitchell as the doctor must constantly be the force of wisdom and philosophy in the film. Mitchell does a great job of this actually, especially when these sort of parts can become heavy handed quite easily when in the wrong hands. Mitchell is absolutely the right hands though because there is always just a bit of sly wit behind his jabs at the governor for failing to see the right thing to do. He never makes his passionate pleas or philosophical moments boring, Mitchell always infuses power into these moments because the joy and energy that never ceases in his performance.

Mitchell really shines at the end of the film when The Hurricane finally does strike basically destroying the island. What makes Mitchell so effective here, because like the beginning of the film, he gives a much needed weight to the film but showing a real man in the situation and avoid some of the dodgy acting that can be found in the 30's. He shows the doctor truly go into action in the terrible moment bringing the seriousness of the situation into reality. His best moment comes at the end of the film where most of the actors are showing the aftermath to be bad, but Mitchell manages to really convey just how horrible the event really is. He brings to life this somber man, filled with sadness and pain over the horrendous events that transpired around him. It is in Mitchell's performance that succeeds in bringing to life the tremendous cost of the hurricane. This is very strong work from Mitchell who does far more than support the film, he anchors it.

Best Supporting Actor 1937

And the Nominees Were:

Ralph Bellamy in The Awful Truth

Thomas Mitchell in The Hurricane

Joseph Schildkraut in The Life of Emile Zola

Roland Young in Topper

H.B. Warner in Lost Horizon

John Wayne, John Ford and "Stagecoach"

As we continue our way to the John Wayne Centennial Birthday Celebration, I re-visited the film that made him a star, 1939’s “Stagecoach”. What a marvelous film it is, featuring a set of fascinating characters aboard a stagecoach traveling through hostile Apache territory – each traveling west for very different reasons.

Directed by the great John Ford, “Stagecoach” is a textbook example of the Golden Age of Hollywood, a movie that does not overstay its welcome (only 95 minutes long), offers gorgeous cinematography of the awe-inspiring Monument Valley and boasts a gallery of Hollywood’s best character actors.

For example, John Carradine plays a gambler, a mysterious character known only as Hatfield. We don’t know anything about him except he is from the South and fought in the Confederate Army. Impeccably attired, he takes a special interest in a pregnant woman (Louise Platt) who is traveling to meet her cavalryman husband. He acts as her protector throughout the movie and is even ready to kill her when it appears the coach will be overrun with Indians. We don’t know why he feels the way he does, but I don’t think we have to. Carradine’s acting and the direction of Ford and the writing of Dudley Nichols are so strong and sure we don’t need reams of motivation. It’s likely she reminds him of someone from his past and that’s all we need to know. Ford and Nichols are confident enough to let the audience figure it out for ourselves, and we are spared any angst-filled flashbacks, thank you very much.

Thomas Mitchell earned a well-deserving Best Supporting Actor for his performance here as the alcoholic Doc Boone. Has anyone in Hollywood history ever had a greater year than Thomas Mitchell in 1939? Consider his entire 1939 output: “”Stagecoach”. “Only Angels Have Wings”. “Mr. Smith Goes to Washington”. “The Hunchback of Notre Dame”. “Gone with the Wind.” Each one a four star movie, and all are still enjoyed to this day.

John Wayne as The Ringo Kid more than holds his own against the veteran cast. In 1930, he starred in the big-budget western “The Big Trail” but it proved a colossal flop and Wayne was banished to Poverty Row studios like Republic and Monogram for the next decade to hone his craft in an endless stream of low-budget westerns. The experience was worthwhile because Wayne is very natural and relaxed.

I particularly liked his scene with the prostitute Dallas (Claire Trevor) when he proposes to her without actually proposing. He tells her about the ranch he has and how it would be a good place for a man and woman to share a life together. The way he says “woman” is drawn out into two long syllables, as if a yearning, and something he thought up to now was only a dream. It’s a beautifully written and played scene. Of course, his entrance scene, as the camera zooms in, goes slightly out of focus, and then clears up as his face fills the screen, is one of the great entrances in movie history.

All of the action takes place in the final third, but when it comes it doesn’t disappoint. The Indian attack on the stagecoach on salt plains is justly celebrated, a thrillingly shot and edited sequence featuring memorable stuntwork by the great Yakima Canutt. The final gunfight takes place off-screen, but is more effective because of it.

There’s more I can write about this movie, but it’s best you discover it for yourself. “Stagecoach” is a true classic, and one of the greatest movies ever made.