The simple truth about this year is that there are not a great deal of performances that really stick out that need to be nominated. The lead performances just stand out with far more strength than the supporting ones. Even in a film like Odd Man Out, which has a solid supporting cast none of the supporting players hold attention nearly as well as James Mason's lead performance. That is the case for almost every film this year. I will instead just do five short reviews of some fairly random performances, since this year in film there just are not a great deal of supporting performances that stick out as something that really must be reviewed.
Kirk Douglas in Out of Past- Douglas gives an an appropriately devious performance as the film villain. He has a great deal of fun when his character is in control of the situation, but he dials it back properly when he is not. This is not on the level of Richard Widmark's work from this year, since Douglas is not in the film all that much. It is an effectively handled slimy characterization though, and Douglas adds a great deal to his film with his presence. 4/5
F.J. McCormick in Odd Man Out- Odd Man Out has a great deal of fine performances from Robert Newton as a lunatic painter to Robert Beatty's loyal man who tries to help the injured IRA operative Johnny McQueen (James Mason). My favorite though is with McCormick as a slightly daffy bird keeper who tries to profit from finding the operative, but is quite in over his head in the whole affair. McCormick gives a enjoyable performance, that lights up the latter half right when the film needs it. He is quite a bit of fun, and is an effortless comic relief. He also quite effectively brings about a conscious in his character even if it is hasty, McCormick believably handles it. In fact he eventually almost becomes a moral compass of all his own as he sees where the story goes. McCormick's final reactions to end are particularly moving, and powerfully handled. He frankly makes far far more out of his part than really ever seemed required of him. 4/5
Gene Lockhart in Miracle on 34th Street- Gene Lockhart is quite enjoyable in this film as the judge who presides over the trial to prove whether Kris Kringle (Edmund Gwenn) is Santa Clause or not. His motivation almost entirely comes form his election prospects which he is reminded of constantly by his political manager (William Frawley, doing his usual thing but doing it well). Lockhart's reactions throughout the trail scenes are quite enjoyable, and I particularly enjoy his direct conversations both verbal and non verbal with Frawley's character. This is a nice enjoyable part of the film that is a appropriately entertaining. 3.5/5
David Farrar in Black Narcissus- Farrar's character in this film acts as a temptation for the Nuns who have recently come to the Himalayas. Farrar's performance is appropriately virile in his own way, and he makes the problems that develop because of him believable. The main reason for this is that a coldness perpetuates within his performance, though as he both seems to encourage as well as discourage Nuns to have interest in him at the same time. He is not incredible but he serves his function well within the film. 3/5
Charles Coburn and Charles Laughton in The Paradine Case- The Paradine Case is not a very remembered Alfred Hitchcock thriller for a reason. It is rather poorly handled, the leading performance by Gregory Peck does not carry enough of an internal conflict necessary for the film. There is some of Hitchcock trademark directorial flair but not enough to make up for the lackluster story. The film does have two great character actors in it, Charles Coburn and Laughton who besides sharing a first name also share similar ability to steal scenes through their witty styles. I would say though that Coburn always comes off as a much warmer personality, and Laughton as a colder one. In this film Coburn is the legal adviser for Peck's character. Coburn is his usually charming self, and does his best to add some life to the proceedings. Although he does not save the film he successfully steals all the scenes from Peck that he is given the chance to effectively bringing to life the great legal mind his character is suppose to be. Laughton is given an odd role in that he has a subplot that is bizarre and really does not go anywhere about his character seeming disinterested with everything. Laughton tries to do something with his part, and with his natural charisma does his best, but unfortuantely nothing really comes from the part due to the bizarre requirements of it. Coburn 3.5/5, Laughton 2.5/5
Gentlemen Prefer Blondes(1953). A film adaptation of the 1949 stage musical, released by 20th Century Fox, directed by Howard Hawks. Cast: Marilyn Monroe and Jane Russell, with Charles Coburn, Elliott Reid, Tommy Noonan, Taylor Holmes and Norma Varden. The screenplay by Charles Lederer. Music By songwriting teams: Hoagy Carmichael and Harold Adamson and Jule Styne and Leo Robin. The songs by Styne and Robin are from the Broadway show, while the songs by Carmichael and Adamson were written especially for the film. Monroe's song, "Diamonds Are a Girl's Best Friend" and her pink dress have been copied by Madonna, Geri Halliwell, Kylie Minogue, Nicole Kidman, Anna Nicole Smith, Christina Aguilera and James Franco.
It is not long after gold-digger Lorelei Lee and down to earth Dorothy Shaw finish their nightclub act, when Lorelei receives an engagement ring from her wealthy boyfriend Gus Esmond, Jr., much to the amusement of her best friend, Dorothy. Gus's father, does everything he can to prevent his son from marrying her.
Gus sends Lorelei and Dorothy, ahead on the ocean liner Isle de Paris, headed for Paris, cautioning Lorelei to stay out of trouble. As the girls board the ship, the American men's Olympic team comments that "neither would drown if the ship sank".
Dorothy, has her eyes set on the athletes, while Lorelei searches the passenger list looking for a man for her best friend. Gus's father has hired private detective Ernie Malone, to keep an eye on Lorelei. While on the job, Malone, falls for Dorothy and bribes the headwaiter for a place at Lorelei and Dorothy's table.
That afternoon, while Malone is getting to know Dorothy better he questions her about Lorelei. While Lorelei, is busy with Sir Francis "Piggy" Beekman, who owns a diamond mine in South Africa. Lorelei, is beside herself when Piggy's wife, Lady Beekman, shows off her tiara.
After dinner, Malone tells Lorelei that he "clips coupons," and she mistakenly believes that he is wealthy. As the days pass, Dorothy falls for Malone, even though he does not seem to like her best friend.
One afternoon, Dorothy catches Malone taking pictures through the porthole of her and Lorelei's cabin and rushing inside, she sees Lorelei pretending to be a goat while Piggy, demonstrating how pythons encircle their prey. Now, knowing that Malone is a spy, the girls need to find a way to get his damaging film.
While Dorothy talks with Malone at the bar, Lorelei searches his cabin but cannot find the film. Trying to escape through the porthole, Lorelei gets stuck, but the little boy they had dinner with comes to her rescue.
The girls are able to get some strong drinks and sleeping pills down Malone and snoop through his clothes where they find the film. After developing the pictures, Lorelei shows them to Piggy, who is so grateful that he gives her Lady Beekman's tiara.
After they leave the cabin, Dorothy catches Malone, red handed retrieving his tape recorder that he had planted in their room. Malone, promises Dorothy that his feelings for her are real, but.. she does not believe him.
After arriving in Paris, Dorothy and Lorelei go on a spending spree and when they try to check into their hotel room, they discover that Gus, who has received Malone's report, has cancelled their reservations and credit.
With nowhere left to go, the women land jobs at a local nightclub and soon after, Gus comes looking for Lorelei. Hurt Lorelei, wants to make him jealous with her dance number, "diamonds are a girl's best friend."
After Lorelei's number, the authorities arrive to retrieve Lady Beekman's tiara, but.. the jewelry has been stolen. Dorothy, wearing a blonde wig, then impersonates Lorelei in court while her friend tries to find Gus.
Will they ever find the tiara and will Lorelei ever convince Esmond, Sr. that she would be the perfect wife for his son?
Fun Facts:
Originally bought by Fox as a vehicle for Betty Grable. After the success of Niagara (which featured Marilyn Monroe), however, the studio believed they had a more potent and far less expensive sex symbol than Grable (who was earning around $150,000 per picture vs. Monroe's $18,000).
Marilyn Monroe kept insisting on retakes despite approval of takes by director Howard Hawks. When Fox asked Hawks how production could be sped up he retorted: "three wonderful ideas: Replace Marilyn, rewrite the script and make it shorter, and get a new director."
Marilyn Monroe wears a gold lame evening dress previously worn by Ginger Rogers in Dreamboat.
In the "Ain't There Anyone Here for Love?" sequence, Jane Russell's fall into the pool was an accident. When Howard Hawks saw the dailies, he kept it in the film.
When told she was not the star of the film, Marilyn Monroe was quoted: "Well whatever I am, I'm still the blonde."
The ship model shown is the one used previously in Titanic and was refurbished to resemble the SS Ile de France, which is clearly named in the film. The model (2009) resides in a Marine Museum in Falls River, Massachusetts. Some of the ocean liner sets used were also left over from "Titanic".
According to Marni Nixon, the studio initially wanted Marilyn Monroe's entire voice dubbed, as they thought her voice was silly. Nixon thought that was "awful", as she felt Monroe's voice suited her persona so beautifully. Nixon told The New York Times in March 2007 that she ended up only dubbing the operatic "no, no, nos" at the beginning of the song and the phrase "these rocks don't lose their shape".
This was Jane Russell's only film with Marilyn Monroe. They got along well. Russell called Monroe "Blondie" and was often the only person on the set who could coax Monroe out of her trailer to begin the day's filming.
The story was based on an ocean voyage to Europe that Anita Loos took on the same boat taking the US Olympic Team. Whichever ship she actually took, the liner that is mentioned in this film was the SS Ile de France. The famous liner was actually used in the film The Last Voyage, but it has a more heroic place in history. It was the SS Ile de France that played a major role in the rescue of the passengers from the Italian liner Andrea Dorea in 1956, after the latter ship collided with the Swedish ship Stockholm off the coast of Nantucket, Massachusetts. The SS Ile de France was decommissioned shortly before the filming of "The Last Voyage," in which she was partially sunk for several key scenes. When filming was completed, she was towed to the scrap docks.
Marilyn Monroe reportedly suggested the line "I can be smart when it's important, but most men don't like it."
Judy Holliday turned down the role of Lorelei Lee because she felt no actress other than Carol Channing (who played the part on Broadway) should be cast.
The teaming of Jane Russell and Marilyn Monroe proved to be so successful, critically and commercially, that Fox wanted to re-team the duo. A December 1954 item in the Hollywood Reporter's "Rambling Reporter" column indicated that the studio wanted Russell and Monroe to star in the film How to Be Very, Very Popular. Monroe passed on the project because she didn't like the script. In January 1955, the studio cast Sheree North as Curly (the part intended for Monroe) and Betty Grable as "Stormy Tornado" (originally intended for Russell).
For this film Gwen Verdon coached stars Jane Russell and Marilyn Monroe in both their dance and walk - Monroe with less sex, Russell with more. It's rumored that at one point in the film, Verdon dubs both Monroe's and Russell's swaying bottoms.
The film showcases Monroe's bubbly personality… in this light-hearted story about when a woman goes bad and men do not seem to really care… The dance numbers are what make this film so popular. I also loved the wardrobe in this film..
Norma Varden (20 January 1898 – 19 January 1989) she trained as a concert pianist in Paris and performed in England before deciding to take up acting. She studied at the Guildhall School of Music and Drama and made her first appearance as Mrs Darling in Peter Pan.
She acted in rep and made her West End theatre debut in The Wandering Jew in 1920.
From Shakespeare to farce, she established herself as a regular member of the Aldwych Theatre company where she appeared in plays from 1929 to 1933.
She then began to appear in British films, usually in haughty upper class roles. Visiting California with her ailing mother in the 1940s, she decided to settle permanently there and began her American film career.
She appeared in Casablanca (1942), The Major and the Minor (1942), The White Cliffs of Dover (1944), National Velvet (1944), The Green Years (1946), Forever Amber (1947), Strangers on a Train (1951), Gentlemen Prefer Blondes (1953), Witness for the Prosecution (1957) and The Sound of Music (1965). She had a recurring role in the 1960s sitcom Hazel as Harriet Johnson, the Baxters' dotty neighbour.
She also appeared on I Love Lucy as "Mrs. Benson", the next door neighbor.
Made for Each Other (1939). Drama. D: John Cromwell. Cast: Carole Lombard, James Stewart, Charles Coburn, Lucile Watson, Alma Kruger, Esther Dale, Ward Bond and Louise Beavers.
The story begins when, a young New York attorney John Mason marries Jane, soon after meeting, which disappoints his boss, Judge Doolittle and his mother who had both hoped that John would marry the bosses daughter.
Soon after, their honeymoon is delayed by a court case, the newlyweds move into their new apartment and invite John's disproving mother to live with them. Things do not get any easier when, John is unfairly passed over for a partnership in Doolittle's law firm.
After, baby John is born, financial pressure builds and Jane wants her husband to ask for a raise, but the judge beats him to the punch, by asking him into accept a twenty-five percent pay cut. Jane, is forced to go back to work causing problems between John and Jane. Leaving all the housework for the very unhappy mother-in-law.
On New Year's Eve, the couple have reached the end of their rope and they decide to separate. When Jane calls home to check on the baby she learns that her son has come down with phenomena. When the baby, arrives to the hospital by ambulance, they are told that the baby may die, if he does not receive a special serum. The only place where the doctors can locate the serum is in Salt Lake City, which is snowed in by a blizzard.
Desperate, John turns to Judge Doolittle, who offers the five thousand dollars to pay the pilot, Conway, to deliver the medicine. The storm turns deadly and Conway has to parachute out of his plane before it crashes, breaking his leg. Will the medicine make it in time to save the baby?
Even though, Carole Lombard is known for comedy, she plays her part very seriously, which shows her versatility. Stewart, is equally as good..
Lucile Watson (May 27, 1879 – June 24, 1962), first film role was in the 1916 silent film, The Girl with Green Eyes. She did not appear in another movie until 1930, when she had an uncredited role in, The Royal Family of Broadway. Watson was primarily a stage actress, starring in such plays as Captain Jinks of the Horse Marines, Heartbreak House, Ghosts, The Importance of Being Earnest and Pride and Prejudice. Lucile reached the height of her adult acting career in, Watch on the Rhine on Broadway in 1941. Two years later in Hollywood, she and Lukas reprised their roles in the film adaptation. In perhaps her best known film role, Lucile Watson's performance as 'Mrs. Fanny Farrelly' was also acknowledged with a nomination for the Academy Award for Best Supporting Actress, but she lost to actress, Katina Paxinou for her performance as Pilar in, For Whom the Bell Tolls.
The Constant Nymph(1943). A romantic drama. Cast Charles Boyer, Joan Fontaine, Alexis Smith, Brenda Marshall, Charles Coburn, May Whitty, and Peter Lorre. It was adapted by Kathryn Scola from the Margaret Kennedy novel and play by Kennedy and Basil Dean, and directed by Edmund Goulding.
After, composer Lewis Dodd's latest symphony does not go over very well in London, he goes to visit an old friend musician, Albert Sanger. One of Sanger's four daughters Tessa, falls in love with Lewis and dreams of helping him follow his dream as a composer.
The very ill Sanger has kept his daughters away from society and now worries about what is to become of them. He asks Lewis to inform the girls wealthy uncle, Charles Creighton, if he dies. When the girls play a song that Lewis wrote for them, Sanger tells Lewis that, the beautiful melody is better than his more intellectual work.
Some time later, Sanger dies. Lewis sends for Creighton, who arrives with his beautiful daughter Florence and Kate travels to Milan to study music and Toni marries wealthy Fritz Bercovy. Lewis and Florence fall in love and when they announce their engagement, the frail heartbroken Tessa faints after hearing the news. Creighton arranges for Tessa and Paula to attend school in England and Lewis and Florence marry.
Six months later, Lewis is frustrated by Florence trying to take over his career and the couple quarrel constantly. When Tessa and Paula run away from their school, Lewis leaves to look for them, not attending the party that Florence has planned to introduce him to her friends. Lewis, later finds them home waiting for him. Paula leaves to join Fritz and Toni, who is pregnant and Tessa stays with Florence and Lewis. When Tessa hears Lewis' latest composition, based on the song that he wrote for her and her sisters, she believes it is not his best work.
Later, Tessa encourages Lewis to put sentiment back into his music and with Tessa's help, Lewis changes his composition. Florence, now knows that Tessa is her rival and tries to get rid of her. The night of the first performance, Lewis realizes that he is in love with Tessa and asks her to go away with him, but Tessa refuses because he is married to her cousin. The excitement of Lewis' proposal and the premiere of his composition causes Tessa to have another fainting spell, and Florence insists that Tessa stay home, rather than attend the concert. Will Lewis' concert go well and will Florence decide to let him go?
Fun Fact: Alfred Hitchcock was considered for directing this film. Hitchcock's wife Alma Reville was one of the writers of The Constant Nymph 1928 version.
A very romantic film, with beautiful music by Erich Korngold. Alexis Smith as the unloved wife gives a perfect performance, as does Joan Fontaine and Charles Boyer. The supporting actors are also very good, including Charles Coburn, Peter Lorre, Brenda Marshall, Dame May Witty, and Jean Muir. You will need plenty of Kleenex for the very touching ending.
Brenda Marshall (September 29, 1915 – July 30, 1992) Marshall made her first film appearance in the 1939 Espionage Agent. The following year, she played the leading lady to Errol Flynn in The Sea Hawk. After divorcing actor Richard Gaines in 1940, she married the actor William Holden in 1941 and her own career quickly slowed. She starred opposite James Cagney in the 1942 film Captains of the Clouds. The Constant Nymph (1943) was a popular success but she virtually retired after this, appearing in only four more inconsequential films. Among these, she played scientist Nora Goodrich in the grade-B 1946 cult classic Strange Impersonation.
080. (05 Mar) George Washington Slept Here (1942, William Keighley) 34
Jack Benny's comic delivery is absurdly forceful. He unsubtly hits every punchline to the point where each joke is downright irritating. It also doesn't help that the comedy is rather mean-spirited, mostly aimed at Ann Sheridan's rash decision to buy a delapidated house in the country. The script might pass for a bad sitcom pilot. As a film, it overextends its welcome in almost record time. Hattie McDaniel and Charles Coburn are criminally underused in supporting roles.
The Art Direction nomination is funny. Apparently the broken down house here was the same used in Arsenic and Old Lace. That shabby set and the renovations look good enough.
027. (22 Jan) The Constant Nymph (1943, Edmund Goulding) 56
The 26-year-old Joan Fontaine doesn't just rise to the challenge of playing a 14-year-old, she never makes you doubt the age for a second. Her performance is a ball of pure energy as she bounds up and down stairs and unconsciously throws her body about without a care. It's hard to imagine anyone accomplishing what Fontaine did in '43 on a physical level. Thanks to Fontaine, you also get every bit a sense of the kind of hopeless romanticism that comes with youth. Even with a charismatic presence like Charles Boyer sharing the screen, Fontaine's performance is so magnetic and thoughtful, it's impossible to focus on anyone else. It's a genuine star turn.
The film itself is a bit more jumbled. Goulding uses some amazing tracking shots, foreshadows like a pro, and makes the most of the film's melodramatic plot. But there's too much story to unravel over the runtime. It also doesn't help that the difference in age between Fontaine and Boyer's characters constitutes an illegal relationship.
5. William Demarest in The Jolson Story- Demarest has a simple role as a supportive mentor, he is properly supportive but little is asked of him.
4. Clifton Webb in The Razor's Edge- Webb has a simple role as a pompous snob, which is portrays with proper snobbishness but again like Demarest little is asked of him.
3. Charles Coburn in The Green Years- Coburn's gives an entertaining and warm performance. He realizes his particular character quite well that only succeeds in adding to his film.
2. Harold Russell in The Best Years of Our Lives- Harold Russell gives a terrific heartbreaking performance that never fails to be moving.
1. Claude Rains in Notorious- Good prediction RatedRStar. The top two of this year are both absolutely terrific heartbreaking performances. What I find amazing about Rains though is that his character never had to be heartbreaking to begin with since he portrays a villain. Rains is astounding in his ability to give both a chilling villainous performance as well as give a sympathetic portrait and turns his character into almost a tragic man.
Deserving Performances: Henry Travers in It's a Wonderful Life Lionel Barrymore in It's a Wonderful Life
Charles Coburn received his third and final Oscar nomination for portraying Alexander Gow in The Green Years.
The Green Years portrays the growth of a young Irish orphan Robert Shannon who goes to live with his sometimes distant relatives in Scotland.
Charles Coburn portrays one of Robert's relatives his Great Grandfather specifically. Alexander Gow is the ends up being the warmest of his relatives who is a bit of a rouge among the family. Coburn despite a rather odd hairstyle, and a fake nose as well still once again proves himself to be one of the best character actors of the period. Although interestingly enough this is his only nominations that is a completely supporting role, unlike his previous two nominations that can both be easily argued as leading roles.
Charles Coburn gives a performance that is an interesting contrast to his bitter millionaire in The Devil and Miss Jones, and the fun loving millionaire in The More the Merrier. This time he portrays a not too rich Scotsman who although has a handsome life insurance policy he is not that wealthy of a man. Coburn handles his Scottish accent in a restrained but effective fashion, and also has certain mannerisms that only add to the character. From the way he walks, to the way he sits all really adds to showing the age and history of his character.
Alexander Gow does not have a great deal of time to himself, but Coburn always makes the most of every time he is on screen. Alexander Gow is an interesting character because he tells some tales about his past that may or may not be complete tall tales or something that might have actually happened to him. Coburn handles these story scenes perfectly telling the story as if it is something that happened to him, but in in a certain fantastical fashion that suggests maybe it did not.
The most important moments in Coburn's performance come from his scenes with his Great Grandson Robert. Coburn is genuinely warm in these scenes. He never overplays the part, and he has the right chemistry with both actors who play Robert. What makes his scenes work well is that Coburn never shows Alexander be overbearing with love, but there is always an honest joy in all of his reactions as he sees his great grandson achieve.
Coburn gives an appropriately fun loving performance here, that is perfect for the almost too fun loving nature of Alexander. There is not a moment where Coburn does not find a way to bring something more to the film through his performance. It is a consistently enjoyable performance of the aged Alexander Gow it is easy to make a role like this frankly too colorful and one can overact. Coburn never does this always finding the right tone, and giving a wonderful supporting performance.
F.J. McCormick in Odd Man Out- Odd Man Out has a great deal of fine performances from Robert Newton as a lunatic painter to Robert Beatty's loyal man who tries to help the injured IRA operative Johnny McQueen (James Mason). My favorite though is with McCormick as a slightly daffy bird keeper who tries to profit from finding the operative, but is quite in over his head in the whole affair. McCormick gives a enjoyable performance, that lights up the latter half right when the film needs it. He is quite a bit of fun, and is an effortless comic relief. He also quite effectively brings about a conscious in his character even if it is hasty, McCormick believably handles it. In fact he eventually almost becomes a moral compass of all his own as he sees where the story goes. McCormick's final reactions to end are particularly moving, and powerfully handled. He frankly makes far far more out of his part than really ever seemed required of him. 4/5
