Matt's Big Oscar Challenge Days 423-424: Days of Future Past Part Seven

After several posts focusing on the early days of Oscar this catch-up segment goes into the late 1950s and 1960s to look at a few nominees that had previously evaded me.

William Wyler has been a regular face on this blog and is the only director to helm three Best Picture winners in Mrs. Miniver, The Best Years of Our Lives and Ben-Hur. Although Wyler has directed many iconic pictures he's also been involved with some less memorable offerings. Friendly Persuasion definitely fits into that latter category as its the quintessential example of middle-of-the-road film-making. The film focuses on the Birdwells; a Quaker family living in Southern Indiana during the American Civil War. Over the course of the two and a bit hours, the family are constantly chastised for their reluctance to fight for their land. This story is an interesting one and the scenes in which the eldest Birdwell child Josh considers his fate are some of the film's most memorable. The problem with Friendly Persuasion is that the first hour is fairly devoid of plot and at times is quite episodic. There are some interesting set pieces including one at a state fair and some of the final scenes in which Josh fights for the home guard. The main issue I had with the characters in general though was the fact that none of them seemed to be happy Quakers with the possible exception of matriarch Eliza. It appeared that they'd rather fight, play music and dance than sit in a prayer hall for hours on end and to be honest I don't blame them. Whilst Wyler does make use of the fine locations afforded to him, I feel he left it too late to really pull the trigger on the film's grittier moments. I did find that Gary Cooper and Dorothy McGuire gave fine depictions of parents Jess and Eliza however the younger actors portraying their children were a little wooden. It was also odd seeing Anthony Perkins playing the sympathetic Josh knowing that four years later he'd portray a cinematic icon in Psycho's Norman Bates. Ultimately Friendly Persuasion wasn't a bad film but it was stunningly mediocre which is a surprise seeing as it comes from the normally reliable Wyler.

Moving on two years now we finally have a bit of light relief in the form of Auntie Mame, Morton Da Costa's adaptation of the play version of Patrick Dennis' novel. As I've noted in the past, it's very rare that a comedy film actually features in the Best Picture field and so it was a refreshing change to experience some laughter during this challenge. Despite being two and half hours I found that Da Costa's film flew by thanks in part to the fantastically large performance that Rosalind Russell put in as the titular matriarch who loomed large over the screen. The basic plot of the film sees Mame become guardian to her nephew Patrick after his stuffy father dies unexpectedly. From there on the two form an odd couple relationship with Patrick becoming the straight man to Mame's audacious character. The progression of the film sees Patrick grow up and get engaged whilst Mame marries, is widowed and eventually writes her autobiography. I wasn't surprised to learn that Auntie Mame was originally a stage play as each scene is quite easily signposted. In fact, Da Costa doesn't shy away from the film's roots and has the house lights dip when the location of the scene changes. I felt Russell was magnificent throughout the course of the film as she devoured every line magnificently and balanced the comedy of the film with its more tragic elements. Russell was well supported by a fantastic ensemble most notably Forrest Tucker as Mame's first husband and Peggy Cass as dowdy secretary Agnes Gooch. Auntie Mame is also incredibly well-designed with the costumes being a particular highlight as were the many decorative sets. I'm surprised to learn that Auntie Mame didn't win any of the Oscars it was nominated for and I feel it really should have snapped up at least one. However a film that makes people laugh is rarely an awards contender and I think the film should just be happy that it's cheered me up after a run of particularly mediocre fare.

Skipping forward another two years we have a completely different sort of film in The Sundowners, an Australian-set adventure starring Robert Mitchum. Fred Zinneman's film, an adaptation of Jon Cleary's book, introduces us to the Carmody family, a trio of sheep-herders who trek across Australia's back country. Mitchum's patriarch paddy is joined by his wife Ida and their son Sean as they take small jobs, camping through the night before moving on to their next destination. The film looks at the change in mood amongst the family as Ida wants to find somewhere for the family to live with Sean agreeing with her. However, Paddy is dead against it and wants to continue living a nomadic lifestyle for as long as possible. The Carmodys, alongside refined English acquaintance Rupert, end up spending some time at a sheep station where they get to re-evaluate their priorities. Going into The Sundowners I wasn't expecting a great deal so I enjoyed what was an enjoyable film about what it takes to be a family. Deborah Kerr's performance was particularly powerful as she portrayed Ida as a woman who was sick of moving round and wanted to a have a home of her own. For her role in the film, Kerr was nominated for her sixth and final Oscar and I think it's a shame that she didn't win at least one. Peter Ustinov was fantastic in the supporting role of Rupert whilst Glynis Johns, who I only knew from Mary Poppins, gave a scene-stealing turn as landlady Mrs Firth. However, the most prominent aspect of The Sundowners are the fantastic Australian exterior shots which boost the authenticity of the picture. Although it's not an outstanding piece of work, I found The Sundowners an easy watch which was bolstered by some fine performances and an interesting ending.

Next time is the final Days of Future Past post as the blog takes a quick European tour.

Matt's Big Oscar Challenge Days 367-369: Days of Future Past Part Three

Sorry for those who are feeling a bit disorientated by the jumps in time but I'm back in the earlier days of the Academy Awards for three more films that I couldn't locate back when I covered the 1930s and 1940s.

We kick off with Alexander's Ragtime Band; a sideways look at the world of jazz and swing music directed by Henry King and co-written by Irving Berlin. As one would expect, the titular song by Berlin features quite heavily throughout the film and in fact the movie begins with a performance of it. Our central character is conductor Roger Grant who, by a coincidence, leads a performance of the song after he finds the music for it dropped by singer Stella Kirby. Roger is soon given the name of Alexander and tours with Stella even though each find the other hard work. Rather predictably they begin to fall for each other but she eventually gets signed to a record contract whilst the rest of the lads are forced to enrol in the army due to the start of World War I. Initially I believed that this film would be nothing more than another light-hearted musical like The Broadway Melody of 1936. However, it morphed into something a little darker as both Stella and Alexander fall in and out of the spotlight until the final performance of the hit at Carnegie Hall. Some of Berlin's most famous songs; including Heat Wave and Easter Parade, are included in the soundtrack and make for an incredibly enjoyable musical. In their roles of Alexander and Stella; Tyrone Power and Alice Faye both shine although I did find the supporting players didn't get much time in the spotlight. The ending was also a little disjointed as it appeared as if Berlin and his co-writers couldn't really devise a good way for Alexander and Stella to reunite. But despite this I felt the film wasn't as flimsy as it could've been and had a great soundtrack that got you through the movie's duller moments.

Moving on a year we find Greta Garbo in only one of the two films she starred in to be nominated for an Oscar, that being Ninotchka. As the majority of my knowledge of classic film stars is via this journey I'm not really aware of Garbo's back catalogue although she did have an incredibly powerful aura in Grand Hotel. Ninotchka was Garbo's penultimate film and was the first broad comedy film in which she starred hence the tagline 'Garbo Laughs.' I was particularly surprised how much the film made me laugh as well as it mocked the Soviet Union's rigid society and the way in which four of its patrons are corrupted when they arrive in Paris. Ninotchka's plot is wafer-thin as it involves the sale of jewellery which had been confiscated during the Russian Revolution and whose owner now wanted it back. Representing the Grand Duchess Swana is Melvin Douglas' Count Leon; a dashing cad who is able to corrupt the three Soviets who arrive in Paris to complete the sale. Garbo's Ninotchka then arrives on the scene; a beret-clad Soviet agent whose job is to complete the sale. I found Garbo to be utterly hilarious in her role as the strait-laced Soviet who is gradually won over by the smooth-talking count. Ernst Lubitsch's direction perfectly anchors the humour whilst the script is packed full of laugh-out-loud one-liners. At just under two hours, Ninotchka is perfectly paced as our two characters come together before being torn apart due to blackmail. The final scene is beautifully played and one more gag is included in the closing shot which I for one appreciated. But ultimately the success of Ninotchka comes down to the brilliant chemistry between Garbo and Douglas both of whom contribute to making this a thoroughly enjoyable satirical screwball comedy.

Entering the 1940s we find Sergeant York which is most famous in Academy Awards history for Gary Cooper's Best Actor win in a field that also included Orson Welles' powerful turn in Citizen Kane. Before going into Sergeant York I believed it to be a war film which chronicled the wartime exploits of Alvin York who won the Medal of Honour. Whilst there are war scenes towards the end of the film the majority of the picture is concerned with York's journey from ne'er-do-well to God-loving pacifist. Indeed, American's participation in World War One isn't even touched upon until the second half of the film and by that point I'd got a little bit bored if truth be told. York's Tennessee townsfolk were all a little bit backward and used phrases such as 'cash money' to resemble how simple they were. Meanwhile, I found Cooper's performance to be a little underwhelming and nowhere near as good as his turn as the steadfast sheriff in High Noon. There were some highlights amongst the cast namely the pretty Joan Leslie as the girl who made York change his way and Margaret Wycherly as his long-suffering mother. I feel my main gripe with Sergeant York though is its sense of American patriotism and the idea that God wanted an American to fight in the trenches in order to win the war. I think if I were a God-loving American I may feel differently about Sergeant York but overall I was a little bit bored during a film that run just over two hours. As well as winning two Oscars; Sergeant York was the highest-grossing film of 1941 and I have to say I'm not surprised as the Americans would've lapped up this patriotic nonsense during World War II. But, over seventy years later, Sergeant York is one of those films that feels awfully outdated.

Next time we return to the 21st Century where we focus on two films starring a hearthrob turned serious actor.

Matt's Big Oscar Challenge Day 129: Two from the West

We trickle on down the river of the Oscar hunt as we have two westerns for your delectation and delight.

Kicking off with High Noon, a nominee from the 1953 ceremony but a film that did win four awards including Best Actor for Gary Cooper and Best Original Song for the completely annoying Do Not Forsake me My Darling which plays throughout the film. Cooper stars as Will Kane the sheriff of a small New Mexico territory who is to give up his job and leave the town with his new wife Grace Kelly's Amy. However just before he is to go he gets word that Frank Miller, a criminal that he convicted, is to return and has his mind set on revenge. Even though he is advised to leave the town he realises that things will only get worse if he doesn't take care of Miller. He desperately tries to drum up support in his help of taking down Miller and his three gang members but is met with resistance from everyone he asks some on personal reasons, others because they are scared and some because they think that it will make the town look bad if it became associated with a shootout. At noon, Miller gets in and a classic shootout begins in the deserted town between Miller's gang and Kane. I have to say I really like High Noon mainly because of its simplicity. The central theme with Kane going round the town is handled well with everybody finding different reasons not to help him even though most concede that Kane has helped clean up the town they just don't want to help him. The design of the town is also deftly handled each set is laid out well and this helps in the final scenes with the shootout. Cooper gives a good performance and is ably supported by Lloyd Bridges as his deputy who refuses to help out as he is jealous of Kane and thinks he still has designs on his ex-girlfriend now Bridges' girl. This girl is Helen Ramirez played by Katy Jurado who sizzles in the film coming across as a strong Latino woman and a lot more interesting than Grace Kelly's pacifist who has little to do for most of the film apart from hang around at the station although she does come into her own in the final scenes. As I've said I found the song completely annoying and its not perfect but as a classic western High Noon still stands up today.

Going forward one year we have Shane another fairly simplistic western seeing Alan Ladd as the titular stranger who comes to a town which is involved in a war between the homesteaders and the landowners lead by Emile Meyer's Ryker. Shane eventually moves in with Van Heflin's homesteader Joe Starrett and helps strengthen their cause while at the same time becoming a second father to Starrett's son and falling in love with his wife Marian played by Jean Arthur in her final film role. Shane incorporates several showdowns between each gangs as Ryker becomes rattled by Shane and hires ruthless gunslinger Jack Wilson played by Jack Palance. Wilson quickly takes out one of the best loved homesteaders who is able to stick to his ground. After his funeral Starrett tries to rally the homesteaders against Ryker and most agree to help him. Shane realises that the only way to help Starrett is to take down Wilson and Ryker and free the homesteaders of the threat of them losing the land once and for all. After a gun battle, witnessed by Starrett's son and his dog, Shane is wounded and goes off on his horse at the end with the audience wondering whether he is dead or not. As we are now into the 1950s colour is starting to be used more and more and that is evident in Shane which won an Oscar for its cinematography. Taking advantage of its large sweeping landscapes and exterior shots Shane is a gorgeously shot film and also is great in its themes of what it means to be a man with the juxtaposition between the classic hero Shane and the grounded family man Starrett both envy each other for different reasons and that's why each of them want to sort out Ryker. Ladd, Arthur and Hefflin all play their roles very well and Ladd in particular has a difficult job portraying a character with very little dialogue. None of these got an acting nomination instead Palance was nominated as the striking Wilson while Brandon De Wilde as Joey Starrett also got a nod despite being really annoying throughout the film like most child actors in the 1950s. The biggest problem with the film for me is Meyer whose Ryker never comes off as a viable threat appearing more as a pantomime villain but despite this Shane is a competently directed Western which capitalises on the use of Technicolor cinematography and utilises to its full extent.

Matt's Big Oscar Challenge Day 97-98: Catch-up Part 6

Back to the 1940 ceremony which did have one of the strongest fields with Gone With the Wind beating films like The Wizard of Oz, Mr Smith Goes to Washington and Goodbye Mr Chips. The latter film features Robert Donat as inspirational teacher Mr. Chipping affectionally known as Mr Chips. The story takes place over 63 years from Chips coming to the all boys' school Brookfield Public School and sees Robert Donat giving a great Oscar winning performance as the man himself. During his time at the school, Chips faces resistance from the staff and governors, falls in love and tragically loses his wife in childbirth. The film looks at themes of authority, belonging and lost love and is very well made indeed.

Like Johnny Belinda, 1944 nominee For Whom The Bell Tolls was nominated for all four acting awards and did actually triumph in the Supporting Actress category. The film is an adaptation of Hemmingway's classic tale of a bridge being blown up during the war and stars Gary Cooper and Ingrid Bergman in the lead roles. But the two supporting performances from Akim Tamiroff as the treacherous Pablo and Katrina Paxinou as the motherly Pilar. While I film the film a bit long and laborious I thought Cooper was magnficent and also the scenes featuring the explosions were well made considering when the film was produced.

Matt's Big Oscar Challenge Day 80: Take Me Up to the Ball Park

Those who know me know that I know very little about sports and of that little knowledge hardly any of it is given up to the sport of baseball. However I am familiar with the name Babe Ruth who actually features as himself in the next film about another New York Yankee player Lou Gerhig. Gerhig died tragically aged only 37 and this film was made and released the year after his death. Gary Cooper was cast in the role of Gerhig which is an odd choice seeing as Lou is in his 20s for the majority of the film and Cooper was in his 40s by this stage of his career. Despite this Cooper is still a decent actor and does his best to show Gerhig from being scouted by The Yankees to becoming the most reliable player on the team. The film also concentrates on three of the most important relationships in his life. Firstly that between Gerhig and his parents, his understanding and down-to-Earth father and his interfering mother. The relationship with his mother is one of the film's most interesting as she argues with everyone that Lou should be an engineer and not a baseball player even though he has an obvious talent for him. The second relationship is between Lou and the sportswriter Sam Blake played by Walter Brennan. Blake is the man who sees potential in Gerhig and persuades the Yankees to give him a try out, Blake later becomes Gerhig's confident and always stands up for him. And finally there is Gerhig's romance with Eleanor Twtichell who he first meets when she watches one of his games. Their relationship is basically without turmoil apart from some interfering from his mother. They get married and although she does get a little tired of being a baseball star's wife she doesn't stop loving Lou. Although tragically the final third of the film looks at Lou becoming ill and gets a fatal motor neuron disease which would later go on to become known as Lou Gerhig's disease. Lou keeps on playing as long as he can but one day he realises that he has to be pulled from the team and makes a last minute decision not to play. The film ends with Gerhig's goodbye speech to the fans which must've been a fairly poignant moment to the original film audience as Gerhig had just died.

The film itself is only okay, it is a very traditional biopic however most of Gerhig's life is really without incident. A lot of the scenes depict life on the road with the baseball team, most of them playing themselves, Babe Ruth in particular sends himself up as a big-headed moron who the rest of the team play pranks on. The acting isn't too bad either, Walter Brennan is possibly the cast's MVP as Sam Blake he just plays an ordinary decent bloke. Despite being too old for the part Cooper still gives it his all and manages to give a sympathetic performance and both he and Teresa Wright, as his wife, were nominated for Oscars. But by today's standards the film is incredibly cheesy, there is an extended segment in which Gerhig promises to hit a home run for a kid in hospital which he obviously does and later in the film the kid who has now grown up comes to see Lou say his farewell. The film was nominated for a total of eleven statues but only managed to win one award, which was bizarrely for editing but it lost out to Mrs Miniver in the Best Picture category. I think this one would probably work if I understood and cared about baseball a bit more but sadly that's never gonna happen.

Matt's Big Oscar Challenge Day 59: Journeys to India and France

A bit of globe-trotting now as we journey to India and then to France. First off is the Lives of a Bengal Lancer which was nominated for Best Picture at the 1936 ceremony. It's hard to describe the film as it isn't really a war film although it does feature scenes of conflict. It is set during the days of the British Raj where Lt. McGregor is stationed and welcomes two new Lieutenants the cocksure Forsythe and Tom Stone the son of the unit's commander Donald. It is this relationship between father and son that is the backbone of the film, as Tom is captured following being tempted by a woman working for the villainous Mohammed Kahn. Despite being told by Donald not to go after his son, Forsythe and McGregor journey to the enemy camp where they are captured and all three are tortured. Tom eventually gives out sensitive information to Kahn but before he can use it Donald and his men burst in and in the ensuing battle Tom kills Kahn but McGregor dies. Tom and Forsythe are given medals of honour and McGregor is posthumously awarded the Victoria Cross. Although not exactly packed full of action, The Lives of a Bengal Lancer was still a very accomplished picture. This was mainly due to the screenplay, which was nominated for the Oscar, which gave opportunities for all the central characters chances to grow and develop and also develop some laddish banter, especially that between Forsythe and McGregor. The acting is also very good with Gary Cooper giving his best performance so far on this quest and Richard Cromwell was also very stoic as Donald the man who wanted to get to know his son but his life as a soldier and almost stunted his emotions. The film was nominated for eight Oscars in total but only one two Oscars for its assistant directors, which is a shame as I really enjoyed this one.

After looking at Charles Dickens adaptations the other day, we have another adaptation this time of Victor Hugo's Les Miserables, now much better known as a musical than from its source text. In this version it is Frederic Marsh who plays Frenchman Jean Valjean the man who is imprisoned and after escaping is treated almost like a beggar but is able to rehabilitated by a kindly priest. He then transforms himself into Monsieur Madelaine a factory owner and later mayor however he encounters Inspector Javert, played by Charles Laughton, the head of the police who he remembers from his time in prison. At the same time Madeline takes in the woman-of-questionable-morals Fantine and her daughter Cossette. Javert reveals that a man is being tried under the name of Valjean, as he is about to be imprisoned the real Valjean reveals himself. Just before Javert is able to bring him to justice he escapes along with Cossette. Valjean is then able to work as a gardener and make enough money to enrol Cossette into a fancy school. During this final part of the story there is an uprising in France as groups start to rebel against the harsh nature of the police. Cossette falls for the leader of the group, who themselves start to attract police attention. This means that Javert comes back into Valjean's life, although Javert is captured by Valjean he reconsiders and lets him go. Javert continues to pursue Valjean but in the end commits suicide by jumping in the river and Valjean and Cossette are reunited. Having only been faintly familiar with the story I think Richard Boleslawski did a good job of bringing it to life. The scenes at the end of the film involving Javert and Valjean are incredibly startling as our Valjean's life following him leaving prison. Like with a star is born, Frederic March is able to display a full range of emotions as Valjean while Charles Laughton steals the show as the villainous and despicable Javert. The film doesn't outstay its welcome and hits all the main plot points without lingering on any one character for too long. However it lost to another Laughton film, Mutiny on The Bounty.

Matt's Big Oscar Challenge Day 46: A Farewell to LoveFilm

This is kind of the day I'm on my own a little bit as this is finally the day that I watch the last film delivered by LoveFilm DVD and have to wait till the next decade, in which most of the films will be delivered by them, to use them again. The last DVD from my rental list for now is another one by Frank Borzage, A Farewell to Arms.

Again Borzage is focusing on World War One, but this time following the relationship between an American ambulance driver, Gary Cooper's Frederick, who serves in the American army and a Scottish nurse played by Helen Hayes. Just like in Seventh Heaven, war separates the lovers as a jealous Italian general dispatches Frederick into Milan far away from Hayes' Catherine however they are soon reunited when it is organised to have him transferred to the hospital where she works after an injury. Up to this point in the film I thought the action totted along nicely, the war scenes weren't as impressively filmed as in Seventh Heaven but the characters seemed a lot more realistic. However I had trouble in the final section of the film in which a pregnant Catherine sits writing letters to Frederick who never gets them because they are held up by the Swiss censors. I found at the end of the film that it all lapsed slowly into melodrama as Catherine started to despair for her lost love. At the end of course Frederick returns just to witness Catherine's death at childbirth, the child not surviving either which I thought made the film end on a low ebb.

The acting itself was fine enough, again I'm not convinced by Gary Cooper as an actor I find him a little brusque and unprofessional although the role didn't demand as much of him as Mr Deeds Goes to Town. Helen Hayes, whose name is above Cooper's in the credits, is another in a long line of strong women in these films however the second half of the film sees her become more weak and dependant on Frederick, a couple of the supporting performers were also excellent notably Adolphe Menjoy as the jealous Major Rinaldi. Unsurprisingly the film didn't get any acting nominations but it did gets some nods on the technical side of things winning awards for both cinematography and sound and being nominated for art direction. However it didn't have a chance against that year's winner the interesting and multi-layered Cavalcade, I think it should be a film that was glad to be nominated. Now comes the time though were I must concentrate on Youtubing the hell out of the rest of the films on the list.

Matt's Big Oscar Challenge Day 18: Doing the Deeds

As the poster says another great Frank Capra production but unlike my two previous Frank Capra viewings (It Happened One Night and You Can't Take It With You) this did not win Best Picture but he did win Best Director for Mr Deeds Goes to Town. Made in between ITHON and YCTIWY, this is possibly the least comic of the three films but like the other two is all to do with power and status and money. As in You Can't Take It With You, Capra roots for the little guy but sees what happens to that little guy when he gives him money. Gary Cooper, nominated for Best Actor, plays Longfellow Deeds a small-town man who inherits a fortune from a long-forgotten uncle and goes to the Big City to claim it. He is then looked after by the guy who played Max in Hart to Hart who is some kind of press agent for the estate but becomes Deeds' confident. Meanwhile a female journalist decides to get the story of Deeds so she pretends to faint in front of him and then starts to romance him. The journalist is played by Jean Arthur in her big break she would later go onto work with Capra on two more occasions. After he discovers her deception he starts to lapse into melancholy but decides to start donating his fortune to farmers who lost their wealth in the great depression. Although this angers the dead uncle's lawyer who tries to prove that Deeds is insane by gathering evidence from his recent behaviour and his old home town. Obviously in the end everything works out well Deeds keeps the fortune, helps the farmers and gets the girl and Capra teaches all the rich people a lesson.

In the other Capra films I have watched there has been someone to root for or someone likeable but the main problem I found was that Deeds wasn't particularly relatable. Although Gary Cooper is a fine actor there's something lacking in the script that gives Deeds any small-town charm instead he often quite easily resorts to punching people in the face which isn't a good representation of the small guy done well. He only redeems himself in the second half of the film and Cooper is very good in the final insanity hearing scenes. Jean Arthur again handles herself well as the typical woman in a man's world she is able to wrap the newspaper editor, the cameraman and briefly Deeds round her little finger. Max from Hart to Hart is also fairly decent as Deeds' sidekick. Overall I can see why this didn't win best picture as it doesn't have the charm of You Can't Take It With You or the knockabout humour and the romance of It Happened One Night. But there are still elements of greatness as this is a Frank Capra film after all. There'll be more Capra to come as his films did garner another two nominations in the decade those films being Lady for a Day and Lost Horizon.

Matt's Big Oscar Challenge Day 2: The Project Takes Wings

On my first mission to find out how many of these Oscar films I could get on DVD, I was dejected to learn that the DVD was not available. Luckily YouTube came to my aid and I found out that someone had posted the film in 14 parts. At over two hours long this silent film was a bit much to handle at first as I wasn't accustomed to the formula of the pictures followed by the dialogue putting up on the screen. Of course I've seen films like Nosferatu and Metropolis, but those are more of the neo-realism era this is a full on U.S.A.-OK film. The story deals with Jack and David two men who enrol in the Air Force while Jack's girl next door would-be love interest Mary also signs up to the Motor Corps. I thought, seeing as it was 1927, the flying sequences are particularly impressive and the music that accompanies the picture is also well judged.

However the film is archaic in its views and some of the scenes seem laughable. Men training by boxing each other and an odd scene in a Paris nightclub are two examples of where Wings goes wrong. Another probelm is the film's patriotic nature by telling us that the Americans were responsible for winning World War I and the British are portrayed as jolly men who are along for the ride. The performances are impressive especially from starlet of the time Clara Bow as Mary who's expressions made her perfect for the silent era. At the end of the day though this looks at the effects on war both on those fighting and those they've left behind. In 2010 The Hurt Locker won Best Picture but despite its superior effects and scripts it shares a lot of similarities with Wings. Whether Wings deserved to win Best Picture needs to be seen I have to watch its two competitor films but for now its a clear favourite.