Matt's Big Oscar Challenge Days 85-87: Catch-Up Part 1

So over August and September I watched 17 films for the Big Oscar Challenge which I sort of abandoned to start watching films for the end of 2010 list. Before I restart the Challenge I'm going to just briefly write about the films I watched back then we start with the first five.

First up was Johnny Belinda which was the 100th film I watched for the challenge and was nominated for Best Picture back in 1949. The film is one of a few in Oscar history to be nominated for all four acting Oscars but won only one of them. That was for Jane Wyman who was absolutely excellent as Belinda, a girl who was born deaf and dumb and was kept separate from the small town community and instead was raised by her father and aunt on a farm. Belinda is befriended by Lew Ayres' new town Doctor who realises that she is smarter than anyone has given her credit for but then tragedy strikes when Belinda is raped by Locky the local town hero. When Belinda gets pregnant the Doctor is suspected as being the father and to protect Belinda he marries her and plans to take his new family out of town. However while the Doctor is away Locky kills Belinda's father after he finds out what Locky did and then the town plan to take Belinda's baby Johnny away after they decide she is an unfit mother. Belinda is then arrested after killing Locky who is trying to take Johnny away but she is saved by Locky's wife Stella who found out about what Locky did to Belinda. I felt the film was absolutely excellent, the four main players - Wyman, Ayres, Agnes Moorhead as Belinda's aunt and Charles Bickford as her father all thoroughly deserved their Oscar nominations as did the film itself. This was a film all about small town suspicion and gossip and what we can do out of spite for example Stella doesn't speak up earlier as she is jealous of Belinda's relationship with the Doctor who she has always been in love with. The film was one of a strong bunch that lost out to Olivier's Hamlet and it's become increasingly obvious that that film shouldn't have won the Oscar at the final ceremony of the 1940s.
After Rebecca and Spellbound, the other two Hitchcock films that have been nominated for Best Picture - Suspicion and Foreign Correspondent were the next two films I watched. The former is the better of the two and stars Joan Fontaine as the dowdy daughter of a wealthy General who is swept of her feet by Cary Grant's dashing cad and they are quickly married. As Fontaine's father and later Grant's cousin are both found dead, she starts to suspect he has killed them so he can get money to continue his gambling ways. In the end it turns out that Fontaine's Suspicion was unfounded as Grant was away when both the murders occurred. This was possibly one of Hitchcock's better studio pictures as it is based on a simple premise and features two superb lead performances and Fontaine was rewarded with the Best Actress Oscar becoming the only performer to ever win an Acting Oscar in a Hitchcock film. The film is another of the superior offerings that fell to the odd mining drama How Green was My Valley.

While I enjoyed Suspicion, I found 1941 nominee Foreign Correspondent a little bit too much with the premise based around political intrigue slightly far-fetched. It stars Joel McCrae, who is pretty decent as the Hitchcock everyman, as a New York reporter who goes to uncover the growing power of Adolf Hitler's Nazi party. As you would expect he is soon thrown into a conspiracy when a Dutch diplomat is killed. While I enjoyed McCrae's performance I thought the film as a whole lacked a certain something especially as it was directed by Hitchcock. But I don't think Alf minded that much as Foreign Correspondent was nominated for Best Picture in the same year as Rebecca won.

Matt's Big Oscar Challenge Day 69: Three's Company

As we saw in the 1930s there were a lot of Screwball comedies knocking about, these films usually revolved around a couple who weren't together for some reason and had to resolve issues - usually of class in order to become a couple by the end. That tradition seems to continue in The More the Merrier, a nominee at the 1944 ceremony which was a film that touched on the serious issue of the housing shortage during the Second World War but did it with plenty of screwball comedy-esque touches. The film revolves around Benjamin Dingle, an adviser on the housing shortage who arrives in Washington to find his hotel won't be ready for two days. Dingle then has to find an apartment and ends up moving in with a young girl named Constance Milligan. Constance and Dingle have trouble working out a routine while living together which is further complicated when Dingle rents half of his room out to soldier Joe Carter. Joe and Constance start to fall for each other but she is already engaged to the straight-laced bureaucrat Charles Pendergrass. Through several different means Dingle starts to orchestrate situations where Joe and Constance will be together and even delays Pendergrass by asking him to help with some of his duties. From there, there are romantic complications as Joe and Constance fall in love and Pendergrass then discovers the whole house-sharing mess. The final scene sees Dingle seal the fate of the two younger characters and then sings outside their door with a group of homeless men.

I really enjoyed The More The Merrier and I even found myself laughing out loud at some points, something I have rarely done to any of these films. Most of the reason for that is down to Charles Coburn as Dingle, who steals every scene he is in and the highlight is the very first morning he and Constance are together they construct an almost silent routine which is absolutely hilarious. Coburn won the Oscar for Supporting Actor that year, the only award the film received, and that was more than justified just as with Lionel Barrymore in the 1930s, Coburn is a supporting star who we will see more of throughout the decade. Jean Arthur, previously the plucky heroine in You Can't Take it With You, here plays the practical but ultimately romantic Constance with some ease and also earned an Oscar nomination. The film does suffer when Coburn isn't on the screen and the romantic scenes between Joe and Constance go on a little too long. However the film is incredibly well written and also well shot including the scenes in which Joe and Constance talk to each other through the wall which are filmed through the window so you can see both characters. A nice little comedy with a serious social issue at its heart and some good performances.

Matt's Big Oscar Challenge Day 41: Down and Out

Next up is Dead End which was nominated for Best Picture at the 1938 awards but lost to The Life of Emile Zola. It is also an adaptation of a play of the same name that featured the first appearance of the Dead End Kids a gang of slum children who would appear in several other films including, most notably, Angels with Dirty Faces. In this film the Dead End Kids' slum is at the back of a new block of luxury apartments and after roughing up one of the rich kids the gang gets in trouble with the child's father, one of the kids - Tommy inadvertently stabs him in the hand and ends up going into hiding. Other plots see Tommy's sister Drina not wanting to see her brother resort to a life of crime and Drina's friend Dave beginning a relationship with a woman who is having an affair with a rich man the two of them knowing they can never be together as Dave cannot support her the way she is already being supported. The third plot strand involves Humphrey Bogart's Babyface Martin returning to the slums to visit his mother and reunite with his old girlfriend however when he finds out the former wants nothing to do with him and the latter has become involved with prostitution he resorts to kidnapping a rich child to make his return worth it. All three plot strands collide as the film reaches its conclusion which sees one character dead and one of the others a hero.

When Dead End was being made, America itself was still in the throes of the depression. While other films, like those by Frank Capra for example, tried to make people forget their troubles when they went to the picture house, Dead End did just the opposite. While the plot isn't exactly thrilling throughout one thing that did strike me was the way that the slum had been constructed and how it represented the juxtaposition between the poor Dead End Kids and the wealthier families in the new apartment blocks, it's no surprise then that it was nominated for both its Art Direction and cinematography. Of the cast, Bogart gives a good supporting performance as the generic mobster character reacting well to the surprises that await him when he returns to his old haunts, this meaty supporting role obviously set him on his way to become a headliner in the next decade.

Joel McCrea also does well as the loveable loser Dave and most of the child actors steer the right side of annoying. However the only acting nomination went to Claire Trevor who starred as Bogart's ex, she was nominated in the Best Supporting Actress category which was in only its second year at the time. This was also the second William Wyler film to get a Best Picture nomination but bizarrely he didn't feature in the Best Director section. Overall a fairly decent film but not an amazing one and I reckon if the Best Picture nominees were only five, Dead End would've failed to make the cut.

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