In film-award terms, 1935 was a year of firsts; one
was part of an experiment that was short-lived; another was the beginning of a
respected institution that is still going strong today; yet another was
considered solid until this year, when a certain incident caused ripples. But
mostly, it was the year Hollywood declared war on the Oscars and the Academy
had to pull out a secret weapon to get anyone to come to the Awards ceremony.
MGM was always in the market for a playboy type to
play the other man in romantic vehicles. In 1932, the studio had latched onto a
twenty-seven-year-old stage actor named Franchot Tone. In no time he was making
screen love to Jean Harlow and Joan Crawford and obviously enjoying himself -
he proposed marriage to Joan Crawford in real life. But Crawford was worried
about their competing careers; she was still unsettled from her divorce from
Douglas Fairbanks, Jr. in 1933. That marriage had ended the moment Joan made it
onto the list of top box-office stars, and Crawford didn't want the same thing
to happen again. "Franchot and I are very deep friends," she said.
"Until things are adjusted, we will remain as we are."
Tone's career was taking off in 1935 when MGM
loaned him out to Paramount for the Gary Cooper adventure Lives Of A Bengal
Lancer, directed by Henry Hathaway. Tone was able to shed his man-about-town
image by playing a robust British soldier in 19th century India in what became
a runaway hit. Then Tone returned to MGM for another romantic vehicle - his
third Joan Crawford movie. On the set one day, Robert Montgomery, who was
playing Crawford's main love interest, let Tone know that Irving Thalberg was
coming by to offer him the role Montgomery had turned down in Thalberg's
upcoming Mutiny On The Bounty. Sure enough, Thalberg appeared at lunchtime and
told Tone, "You're going to get your big chance."
Big was, indeed, the word for Mutiny On The Bounty.
Thanks to location shooting in Tahiti and numerous production setbacks - a
technician drowned, a prop boat had floated out to sea - Thalberg's adventure
cost $2 million, becoming the most expensive movie since MGM's Ben-Hur in 1926.
Mayer was sceptical of the whole project, arguing that it didn't have any roles
for female stars. (It did however have the two previous Best Actor Oscar
winners, Clark Gable and Charles Laughton, as leads.) Thalberg insisted,
"People are fascinated by cruelty, that's why Mutiny will have appeal."
There were two remakes, one in 1962 with Marlon Brando / Trevor Howard /
Richard Harris and one in 1984 with Mel Gibson / Anthony Hopkins / Edward Fox.
These two also had their share of production difficulties.
Although Gable as Fletcher Christian and Laughton
as Captain Bligh had the leading roles, Tone had a showy monologue in the
film's climactic court trial and garnered terrific personal notices when the
picture opened to rave reviews. Mutiny On The Bounty went on to make almost as
much money as Ben-Hur. Joan Crawford married Franchot Tone on October 11, 1935.
Tone's star rose so quickly that Warners asked MGM
for him to play opposite its dawning light, Bette Davis. The studio was
planning to cash in on Davis' Of Human Bondage reputation with a drama called
Dangerous, about a self-destructive actress who cripples her husband in a car
wreck on her opening night. "I read the script carefully and sighed,"
Davis wrote in her autobiography. "It was maudlin and mawkish with a
pretense at quality which in scripts, as in home furnishings, is often worse
than junk. But it had just enough material in it to build into something if I
approached it properly. It was lovely to play with Franchot Tone and I worked
like ten men on that film..."
The work was rewarded with critical praise and
hefty box office. Jack Warner was delighted that Davis' brand of powerhouse
performing was profitable and he demanded the full publicity treatment for his
new dramatic star. Davis was the frequent subject of fan magazine stories and
the studio regularly shipped out pictures of Davis at nightclubs - many of
which were shot on studio sets.
Davis' rival on the tragedienne department was
MGM's Greta Garbo, who decided that she wanted to play Anna Karenina again,
having starred in a silent version, entitled Love, in 1927. For the first time
in years, Thalberg did not produce a Garbo picture - David O. Selznick did.
Unlike the previous one, this version did not have a happy ending.The
million-dollar production boasted Fredric March as Count Vronsky and gowns by
Adrian. Anna Karenina, earning Garbo her best reviews and her highest grosses
in years, was another triumph for Selznick.
The producer had struck gold earlier in the year
with another million-dollar adaptation of a literary classic, David
Copperfield, directed by George Cukor. Selznick came up with an offbeat casting
for the role of Micawber, with comedian W.C. Fields. The film was very
successful - Selznick was especially pleased when it was well received in
London, where a critic called the movie "the most gracious work of film
art that America has yet sent us." Inspired by his luck at MGM, Selznick
informed the studio he was leaving to set up his own movie company.
At Selznick's former haunt, RKO, Katharine Hepburn
was doing well for herself in Alice Adams, Booth Tarkington's comedy of manners
about a status-seeker in a small town. Fred MacMurray was the leading man and
Hedda Hopper had a small part as a local snob, but Hepburn walked off with the
picture and the reviews. Bette Davis herself said that Hepburn gave the best
performance by an actress that year.
With Hepburn, as well as Fred Astaire and Ginger
Rogers (who in 1935 starred in their most commercial and critically acclaimed
collaboration, Top Hat), on its team, RKO could afford to take a gamble on
scenarist Dudley Nichols and director's John Ford's adaptation of The Informer,
Liam O'Flaherty's novel about a stool pigeon during the Irish rebellion of
1922. But since the property didn't sound very commercial, the studio alotted
Ford only $218,000 and 18 days to make the picture. The brooding title
character was played by 49-year-old Victor McLaglen (father of film director
Andrew McLaglen), better known for happy-go-lucky leading parts in adventure
movies. The film won sensational reviews - the Baltimore Sun placed it "among
the five best pictures produced since the coming of sound" - but
audiences, perceiving it as either arty or depressing or both, stayed away, and
The Informer managed to lose money.
Awards-giving fever was contagious and the New York
Film Critics, perhaps feeling they could be more objective than Hollywood,
inaugurated their own annual awards on January 2, 1936. Their first winner was The
Informer for Best Picture and John Ford for Best Director. The Best Actress
award went to Greta Garbo for Anna Karenina, while the Best Actor award was
given to Charles Laughton for Mutiny On The Bounty and Leo McCarey's Ruggles Of
Red Gap, a comedy in which he played an English valet making it in the Wild
West.
For the first time in Oscar history, a studio
campaigned in the trade journals for Academy consideration. The guilty party
was MGM, promoting its adaptation of Eugene O'Neill's Ah, Wilderness with
Wallace Beery and Lionel Barrymore. The ad was a cartoon depicting a statuette
with the label "Ah, Wilderness" around its neck while MGM's trademark, Leo the
Lion, stood by with arms outstretched. The copy read: "Leo, you've given
so much... get ready to receive!"
The Nominations
Leo got ready to put his tail between his legs - Ah,
Wilderness failed to receive a single nomination. Otherwise, because of
evolving rules and tie votes, the number of nominees varied wildly from
category to category: there were 12 Best Picture nominees, 3 directors, 4
actors, 6 actresses, 9 nominees for sound, 6 for editing, 10 for dance
direction (that was a thing for 3 years), while all the other categories had
three nominees each. The major nominees were:
Mutiny on the Bounty with 8 nominations: (Best
Picture, Best Actor for all three of its leads (Gable, Laughton, Tone),
Director, Screenplay, Editing and Music, Score for Herbert Stothart).
The Lives of a Bengal Lancer with 8 nominations:
(Best Picture, Director, two Assistant Director nominations, Screenplay, Editing,
Art Direction and Sound).
A few words on the most interesting nominee of the
Screenplay category, on of the writers for The Lives of a Bengal Lancer called Achmed
Abdullah: born Alexander Nicholayevitch Romanoff, he was the son of Grand Duke
Nicholas Romanoff, a cousin of Tsar Nicholas II of Russia and of Princess
Nourmahal Durani, the daughter of the Amir of Afghanistan.
Alexander, along with his brother Yar and sister
Gothia, were born at the Romanoff Palace in Yalta, the future site of the
historic Second World War conference among Winston Churchill, Franklin D.
Roosevelt and Joseph Stalin. After pressure from the Afghan and Russian royal
houses forced their parents to divorce, Alexander - along with his sister - went
to live with their uncle in Afghanistan; Yar, the oldest, stayed with his
father in Russia. Alexander was adopted by his uncle, who changed his name to
Achmed Abdullah Nadir Khan el-Durani el Iddrissyeh and raised him in the Muslim
faith. Yar became an officer in the Russian army and was killed in 1914 at the
Battle of Tannenberg. Gothia was said to have married an Indian rajah. In 1936,
after years of being torn between the Russian Orthodox Church he was baptized
in and the Muslim faith he was raised in, Abdullah became a Roman Catholic.
He went to schools in Afghanistan, India, France
and finally England, where he attended Eton and Oxford. Upon graduation he
became a British citizen and joined the British army, where he served with
merit in China, Tibet, Russia, Eastern Europe, France, India and Africa.
Because of his ability to blend in with different cultures, he was often called
upon by British Intelligence to work as a spy. Not long after Abdullah retired
from the British army with the rank of captain, he joined the Turkish army and
fought with distinction in the First Balkan War (1912-1913). By the time
Abdullah decided to pursue a writing career his life experiences had gained him
a plethora of material to draw upon for decades to come.
The Informer had 6 nominations: (Best Picture, Best
Actor (McLaglen), Director, Screenplay, Editing and Music, Score for Max
Steiner).
The third nominee for Best Music, Score was Ernst
Toch for Peter Ibbetson:
Top
Hat had 4 nominations: (Best Picture, Art Direction, Dance Direction and Song,
for Cheek to Cheek • Music & Lyrics by Irving Berlin •
sung by Fred Astaire).
Les Misérables, Zanuck's independently made
adaptation of the classic Victor Hugo novel with Fredric March and Charles Laughton,
also had 4 nominations: (Best Picture, Assistant Director, Cinematography and Editing).
A Midsummer Night's Dream, the million dollar
prestige adaptation of the Shakespeare classic, directer by the great theatre
director Max Reinhardt and William Dieterle and featuring James Cagney, Dick
Powell, Olivia de Havilland and Mickey Rooney as Puck, only received 3 nominations:
(Best Picture, Assistant Director and Editing).
Also with 3 nominations was another musical; the
sequel of sorts to the second ever Best Picture winner, Broadway Melody,
unimaginatively titled Broadway Melody of 1936: (Best Picture, Story and Dance Direction).
David Copperfield also received 3 nominations:
(Best Picture, Assistant Director and Editing).
Alice Adams was nominated for Best Picture and
Actress for Hepburn, while the first Jeanette MacDonald/Nelson Eddy musical,
Naughty Marietta, was nominated for Best Picture and Sound. Captain Blood,
Warners classic pirate movie which made stars out of Errol Flynn and Olivia de
Havilland, was also nominated for Best Picture and Sound. Finally, Ruggles Of
Red Gap had a single nomination, that of Best Picture.
The 4 Best Actor nominees were the three from Mutiny
on the Bounty and McLaglen from The Informer. There was a surprise in the Best
Actress race, however. Bette Davis and Katharine Hepburn were in, as expected,
but Garbo was out. "Although nearly everyone in Hollywood secretly or
openly admires Garbo, she has never won an award," wrote the Hollywood
Citizen News. "Perhaps she did not get the votes because everyone knows
that she would not appear at a public banquet to accept it and that would pique
them." The four actresses considered less likely to pique were Merle
Oberon for The Dark Angel, Miriam Hopkins for Becky Sharp, Elisabeth Bergner
for Escape Me Never, and Claudette Colbert for Private Worlds; they were the
other four nominees.
What about the Best Song nominations? We've already
heard Cheek To Cheek, my favorite of the three by far. The other two were:
Lullaby of Broadway from Gold Diggers of 1935 •
Music: Harry Warren • Lyrics: Al Dubin • sung by Wini Shaw and ensemble.
Lovely to Look At from Roberta • Music: Jerome Kern
• Lyrics: Dorothy Fields & Jimmy McHugh • sung by Irene Dunne.
From the same film, the classic Smoke Gets In Your
Eyes wasn't eligible, because it wasn't especially written for the movie. I
Won't Dance, however, was eligible, but unfortunately wasn't nominated.
Also not nominated, Lulu's Back In Town from
Broadway Gondolier.
Also not nominated, Broadway Rhythm from Broadway
Melody of 1936.
To assure the honesty of the tabulations, Frank Capra,
the Academy president, hired the accounting firm of Price, Waterhouse to count
the votes. They've been doing it since, until the Moonlight / La La Land
debacle a few months ago tainted their good reputation.
The Academy also bent over backwards and once again
allowed write-in votes, permitting the 640 Academy voters to ignore the
nominations, if they so chose. Jack Warner saw his big chance to win Oscars for
his little-nominated Captain Blood and A Midsummer Night's Dream; he sent out a
memo to all the Academy members at his studio "suggesting" they write
in votes for Warners' movies all the way down the ballot.
But the voting wasn't Capra's greatest problem; the
guilds were not happy with the Academy, considering that it was representing
the interest of the big studios and threatened to boycott the Oscar banquet. The
studio bosses, on the other hand, felt that since the Academy couldn't help
them in their labor disputes it was of no use to them and withdrew their
financial support. So Capra faced the nightmarish prospect of not having enough
money to organize the ceremony - and, even if he did, there was the possibility
that nobody would show up.
The funding issue was solved by the Academy board
of directors paying for the banquet and statuettes out of their own pockets.
The guild boycott was another matter; Capra needed a further lure to convince
the nominees to attend. And then it hit him - why not give a Special Award to
the father of American cinema himself, D.W. Griffith, and turn the party into a
testimonial dinner? Capra called the director in Kentucky and Griffith said
he'd be honored to attend. Capra broadcast the news of the Griffith tribute and
kept his fingers crossed.
The Winners
The boycott did have an effect on the banquet, but
it wasn't as bad as it could have been; a few stars did attend. Bette Davis,
who shocked everybody when she appeared in a simple checked dress, won the Best
Actress award. But the actress was not altogether pleased. "It's a
consolation prize. This nagged at me. It was true that even if the honor had
been earned, it had been earned last year," she later recalled.
The two movies that led the nominations were not
too happy as the evening progressed. Before the Best Picture announcement, The
Lives of a Bengal Lancer had only won for its assistant directors, while Mutiny
on the Bounty was still empty-handed. Meanwhile, The Informer had four wins out
of five nominations (the absent John Ford for Best Director, the jubilant
Victor McLaglen for Best Actor, the boycotting Dudley Nichols for Screenplay
and the absolutely worthy Max Steiner for Best Music, Score.) It only missed
the Editing Award, which went to A Midsummer Night's Dream. The same film won
the Cinematography award, even though it wasn't nominated. It was the first and
only write-in nominee to actually win.
The Best Story award went to one of the wittiest
movies ever, The Scoundrel, Art Direction went to The Dark Angel, Sound went to
Naughty Marietta, while Dance Direction was shared by Broadway Melody of 1936
and Folies Bergère de Paris. Irving Thalberg sighed a sigh of relief when Mutiny
on the Bounty was announced as the Best Picture. It was it's only win, but it
was a big one.
The Best Song award went to Lullaby of Broadway. It
is a perfectly fine song, but really, not a match for Cheek To Cheek.
After the awards were given, Capra revealed the
results of the voting. Mutiny on the Bounty had won by a wide margin, followed
by The Informer and Captain Blood. Katharine Hepburn was behind Bette Davis,
with Elisabeth Bergner in third place. Victor McLaglen's closest competition
for Best Actor wasn't one of the Bounty nominees, but write-in candidate Paul
Muny for Black Fury. Finally, Captain Blood's Michael Curtiz placed third in
the Directors' race, behind Henry Hathaway for Lives Of A Bengal Lancer.
Boosted by the attention from the Academy, The
Informer was re-released by RKO and finally made a profit. Frank Capra savored
the irony; it proved what he had maintained all along, that the Oscar is
"the most valuable, but least expensive, item of world-wide public
relations ever invented by any industry."
Another great song from 1935 - "It's Easy to Remember (And So Hard to Forget" - from "Mississippi," by Rodgers and Hart. If there had been a best supporting actor category in 1935, I imagine W. C. Fields would have been a shoo-in for "David Copperfield." And Joe E. Brown would have won the best supporting actress award for "A Midsummer Night's Dream."
ReplyDeleteHello Alan! If "It's Easy to Remember" was eligible, it should have certainly been considered. As for the best supporting actor category, it was created the following year, I guess in part to avoid having 3 actors from the same film compete for Best Actor (when clearly Franchot Tone was supporting in MotB). W. C. Fields and Joe E. Brown would certainly be among the favorites. :)
DeleteThese older Oscar columns certainly jog the old memory banks! As a youngin', I saw many old movies on afternoon TV back in the days when such things were shown with much regularity. Haven't seen most of them since so thanks for the memories. It always amazes me that a film can be shut out of virtually every category then go on to take the top prize. Truly WTF moments. It happens with TV shows, too. As for song choice, Cheek To Cheek is indeed a classic but I'm partial to Lullaby which I admit has more to do with my absolute love for Bette's version than anything else. Now just who are these Daffodils that entertain at Angelos & Maxies?
ReplyDeleteHello RM! I too saw many of these movies on TV, in my childhood. I made a point to rewatch them in my adults years, some with stand the test of time, many don't. Interestingly enough, it's the genre films, those that were generally not given enough love at the Oscars, that have aged better. The "serious", "prestige" films that ended up with the Best Picture Oscar most of the time have not aged that well; they often come off as pompous or false.
DeleteI too am partial to Lullaby. However, one of my main criteria for making this list, is whether the winning song was the best eligible one or not. And imo Lullaby, as good as it is, can't hold a candle to Cheek To Cheek. As for the Daffodils, your naughty guess is as good as mine... ;)