Big Magilla wrote:Gloria Grahame is hardly in the film. Her Oscar was clearly given for her virtuosity that year which also included performances in The Greatest Show on Earth, Macao and Sudden Fear.
I've see the film twice, and both times I've had the same reaction: first thinking, oh, I see why Grahame won; she's a breath of fresh air -- and then, when her character abruptly disappears, wondering how she possibly won for a part so small.
I agree, it was probably the "she was in everything this year" factor that won it for her.
I have a fondness for 1952. I really like High Noon, The Quiet Man and Singin' in the Rain as well as two films, released in New York that year, but not eligible for Oscars until later years, The Importance of Being Earnest in 1952 and Forbidden Games in 1954.
Limelight, another film that was released in New York that year, but ridiculously not eligible for Oscar consideration until twenty years later, is a film that I've come appreciate more now than I did in the past.
Moulin Rouge and The Bad and the Beautiful, two films that were rushed into L.A. release to qualify for 1952 Oscars but were not released in New York or anywhere else until until 1953, are two films that I've always thought were overrated. Both have new Blu-ray releases. The BFI restoration of Moulin Rouge has made me a believer. It's absolutely stunning. The Blu-ray features several interesting extras including a 17-minute compilation of scenes of Paris from films made between 1900 and 1925.
Warner Archive's Blu-ray release of The Bad and the Beautiful also looks good, but this is still a film I can't warm up to. To me, the best ones in it are Walter Pidgeon and Dick Powell. Kirk Douglas does a good job playing a heel, so much so, that I've always thought that he was playing himself and found it hard to like him in other films. Although Lana Turner arguably gave her best performance in this, that isn't saying much. Gloria Grahame is hardly in the film. Her Oscar was clearly given for her virtuosity that year which also included performances in The Greatest Show on Earth, Macao and Sudden Fear.
Mister Tee wrote:'52 was the year I was born, and it's one year for which I'm truly unable to come up with a best picture choice with which I feel remotely comfortable. I've never been all that wild about Singin' in the Rain (I saw it in the mid-60s, before the Cahierists declared it a masterpiece); I think High Noon and Quiet Man are okay but not really my thing (John Ford in high-Irish mode just rubs me wrong); I like the Alec Guinness pictures but consider them trivial; I kind of like Member of the Wedding, but that's all.[/color]
What about The Bad and the Beautiful? I just watched it again after 40 years and it holds up brilliantly. Has a great performance by Douglas but I was surprised how good Lana Turner is in this.
Never thought of it as much beyond a glossy soap opera. Its reputation has always baffled me.
Mister Tee wrote:'52 was the year I was born, and it's one year for which I'm truly unable to come up with a best picture choice with which I feel remotely comfortable. I've never been all that wild about Singin' in the Rain (I saw it in the mid-60s, before the Cahierists declared it a masterpiece); I think High Noon and Quiet Man are okay but not really my thing (John Ford in high-Irish mode just rubs me wrong); I like the Alec Guinness pictures but consider them trivial; I kind of like Member of the Wedding, but that's all.[/color]
What about The Bad and the Beautiful? I just watched it again after 40 years and it holds up brilliantly. Has a great performance by Douglas but I was surprised how good Lana Turner is in this.
Never thought of it as much beyond a glossy soap opera. Its reputation has always baffled me.
Mister Tee wrote:'52 was the year I was born, and it's one year for which I'm truly unable to come up with a best picture choice with which I feel remotely comfortable. I've never been all that wild about Singin' in the Rain (I saw it in the mid-60s, before the Cahierists declared it a masterpiece); I think High Noon and Quiet Man are okay but not really my thing (John Ford in high-Irish mode just rubs me wrong); I like the Alec Guinness pictures but consider them trivial; I kind of like Member of the Wedding, but that's all.[/color]
What about The Bad and the Beautiful? I just watched it again after 40 years and it holds up brilliantly. Has a great performance by Douglas but I was surprised how good Lana Turner is in this.
Best Picture: Singin in the Rain
Best Director: Akira Kurosawa for Rashomon
Best Actor: Kirk Douglas in The Bad and the Beautiful
Best Actress: Machiko Kyo in Rashomon
Best Supporting Actor: Donald O'Connor in Singin in the Rain
Best Supporting Actress: Jean Hagen in Singin in the Rain
Best Original Screenplay: Singin in the Rain
Best Adapted Screenplay: The Bad and the Beautiful
Best Score: High Noon
Best Art Direction: Singin in the Rain
Best Costume Design: Singin in the Rain
Best Editing: Singin in the Rain
Best Cinematography: Rashomon
Best Sound: Singin in the Rain
Best Foreign Film: Rashomon
BEST PICTURE
01. Singin’ in the Rain (dirs. Stanley Donen & Gene Kelly)
02. Angel Face (dir. Otto Preminger)
03. Umberto D. (dir. Vittorio De Sica)
04. The Life of Oharu (dir. Kenji Mizoguchi)
05. Park Row (dir. Samuel Fuller)
06. Ikiru (dir. Akira Kurosawa)
07. The Lusty Men (dir. Nicholas Ray)
08. Casque d'Or (dir. Jacques Becker)
09. The Golden Coach (dir. Jean Renoir)
10. Kansas City Confidential (dir. Phil Karlson)
BEST DIRECTOR
01. Vittorio De Sica, Umberto D.
02. Otto Preminger, Angel Face
03. Kenji Mizoguchi, The Life of Oharu
04. Stanley Donen & Gene Kelly, Singin' in the Rain
05. Samuel Fuller, Park Row
BEST ACTOR
01. Takashi Shimura, Ikiru
02. Carlo Battisti, Umberto D.
03. Dan Dailey, The Pride of St. Louis
04. Gennaro Pisano, The Machine That Kills Bad People
05. Laurence Olivier, Carrie
BEST ACTRESS
01. Kinuyo Tanaka, The Life of Oharu
02. Simone Signoret, Casque d'Or
03. Susan Hayward, The Lusty Men
04. Jean Simmons, Angel Face
05. Ingrid Bergman, Europa '51
BEST SUPPORTING ACTOR
01. Dick Powell, The Bad and the Beautiful
02. Alberto Sordi, The White Sheik
03. Donald O’Connor, Singin’ in the Rain
04. Brad Dexter, Macao
05. Arthur Kennedy, The Lusty Men
BEST SUPPORTING ACTRESS
01. Jean Hagen, Singin’ in the Rain
02. Mary Welch, Park Row
03. Katy Jurado, High Noon
04. Dame Edith Evans, The Importance of Being Earnest
05. Ruth Roman, Invitation
BEST SCREENPLAY
01. Umberto D. (Cesare Zavattini)
02. Park Row (Samuel Fuller)
03. Angel Face (Oscar Millard, Frank S. Nugent, based on a story by Chester Erskine)
04. Ikiru (Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni)
05. The Lusty Men (David Dortort, Horace McCoy, Alfred Hayes, Andrew Solt, Jerry Wald, based on the novel by Claude Stanush)
BEST FILM EDITING
01. The Lusty Men (Ralph Dawson)
02. Moulin Rouge (Ralph Kemplen)
03. Singin' in the Rain (Adrienne Fazan)
04. The Narrow Margin (Robert Swink)
05. The Life of Oharu (Toshio Gotô)
BEST CINEMATOGRAPHY
01. The Life of Oharu (Yoshimi Hirano, Yoshimi Kono)
02. Othello (G.R. Aldo, Anchise Brizzi, George Fanto, Alberto Fusi, Oberdan Troiani)
03. The Sniper (Burnett Guffey)
04. Angel Face (Harry Stradling, Sr.)
05. Sudden Fear (Charles Lang)
BEST ART DIRECTION
01. Moulin Rouge (Marcel Vertès, Paul Sheriff)
02. The Golden Coach (Gino Brosio, Mario Chiari)
03. The Life of Oharu (Hiroshi Mizutani)
04. Macao (Ralph Berger, Albert S. D'Agostino, Harley Miller, Darrell Silvera)
05. Le Plaisir (Jean d'Eaubonne, Robert Christidès)
BEST COSTUME DESIGN
01. Moulin Rouge (Julia Squire)
02. The Life of Oharu (uncredited)
03. The Golden Coach (Maria De Matteis)
04. Casque d'Or (Mayo)
05. Scaramouche (Gile Steele)
BEST ORIGINAL SCORE
01. The Life of Oharu (Ichirô Saitô)
02. The White Sheik (Nino Rota)
03. Forbidden Games (Narciso Yepes)
04. Angel Face (Dimitri Tiomkin)
05. Le Plaisir (Joe Hajos)
BEST ORIGINAL SONG
01. Angel Face ("Nostalgia," music by Dimitri Tiomkin)
02. High Noon ("High Noon (Do Not Forsake Me, Oh My Darlin')," music by Dimitri Tiomkin, lyrics by Ned Washington, performed by Tex Ritter)
03. Macao ("You Kill Me," music by Jule Styne, lyrics by Leo Robin, performed by Jane Russell)
04. Singin' in the Rain ("Make 'em Laugh," music by Nacio Herb Brown, lyrics by Arthur Freed, performed by Donald O'Connor)
05. Rancho Notorious ("The Legend of Chuck-a-Luck," music and lyrics by Ken Darby, performed by Bill Lee)
BEST SOUND
01. The Sound Barrier (John Cox, Bert Ross, Winston Ryder)
02. Scaramouche (Douglas Shearer)
03. The Narrow Margin (Clem Portman, Francis M. Sarver)
04. Singin' in the Rain (Douglas Shearer)
05. With a Song in My Heart (Roger Heman, Sr.; Arthur von Kirbach)
BEST MAKEUP & HAIRSTYLING
01. Moulin Rouge (Eileen Bates, Connie Reeve)
02. The Golden Coach (uncredited)
03. Carrie (Larry Germain, Wally Westmore)
04. Scaramouche (Sydney Guilaroff, William Tuttle)
05. Le Plaisir (Carmen Brel, Roger Chanteau)
BEST VISUAL EFFECTS
01. Plymouth Adventure (A. Arnold Gillespie, Warren Newcombe, Irving G. Ries)
02. The Greatest Show on Earth (Devereaux Jennings, Gordon Jennings, Paul K. Lerpae, Barney Wolff)
03. The Sound Barrier (uncredited)
04. Moulin Rouge (Judy Jordan, Wally Veevers)
05. Hans Christian Andersen (Clarence Slifer)
FINAL TALLY
8 nominations: The Life of Oharu (3 wins)
7 nominations: Angel Face (1 win), Singin' in the Rain (2 wins)
5 nominations: The Lusty Men (1 win), Moulin Rouge (3 wins)
4 nominations: The Golden Coach, Park Row, Umberto D. (2 wins)
3 nominations: Casque d'Or, Ikiru (1 win), Macao, Le Plaisir, Scaramouche
2 nominations: Carrie, High Noon, The Narrow Margin, The Sound Barrier (1 win), The White Sheik
1 nomination: The Bad and the Beautiful (1 win), Europa '51, Forbidden Games, The Greatest Show on Earth, Hans Christian Andersen, The Importance of Being Earnest, Invitation, Kansas City Confidential, The Machine That Kills Bad People, Othello, Plymouth Adventure (1 win), The Pride of St. Louis, Rancho Notorious, The Sniper, Sudden Fear, With a Song in My Heart
Last edited by ksrymy on Sat May 06, 2017 2:27 pm, edited 87 times in total.
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
Big Magilla wrote:Yes, but foreign film nominations were based n submissions from their countries of origin, not initial U.S. release dates.
Yes, but pretty routinely those films did get NY releases the year they were submitted -- most definitely Day for Night and Amarcord, which won the NY Critics' prizes in '73/'74, and then scored Oscar nominations in '74/'75 respectively, because their LA releases came after the 1st of the year.
Reza wrote:IMDb lists Forbidden Games as a 1952 release in the U.S. and it won an honorary Oscar for that year. However it was later nominated for Best Motion Picture Story during the 1954 Oscars. Similarly Rashomon was a 1951 release in the U.S. and won an honorary award in 1951 and was later nominated for the Art Direction Oscar during 1952.
How did this happen?
The honorary awards were based on the film's initial releases in New York. The nominations were based on teh film's initial L.A. engagements.
This continued to happen often through the 60s and 70s -- Sundays and Cybele, The Battle of Algiers, Investigation of a Citizen Above Suspicion, Day for Night and others all showed up as screenplay and/or directing nominees a year after their foreign-language film nomination (two, in Algiers' case). NY usually got the films in the nomination year, but LA openings were always later.
I belive they changed the rule on this sometime in the 80s -- at least by 1990, with Cinema Paradiso, which would have been a prime candidate to achieve the same status and was nominated by the DGA, but was ineligible for regular nominations.
Reza wrote:IMDb lists Forbidden Games as a 1952 release in the U.S. and it won an honorary Oscar for that year. However it was later nominated for Best Motion Picture Story during the 1954 Oscars. Similarly Rashomon was a 1951 release in the U.S. and won an honorary award in 1951 and was later nominated for the Art Direction Oscar during 1952.
How did this happen?
The honorary awards were based on the film's initial releases in New York. The nominations were based on teh film's initial L.A. engagements.
IMDb lists Forbidden Games as a 1952 release in the U.S. and it won an honorary Oscar for that year. However it was later nominated for Best Motion Picture Story during the 1954 Oscars. Similarly Rashomon was a 1951 release in the U.S. and won an honorary award in 1951 and was later nominated for the Art Direction Oscar during 1952.
BEST PICTURE OF 1952
1. Angel Face (Otto Preminger)
2. The Lusty Men (Nicholas Ray)
3. On Dangerous Ground (Nicholas Ray)
4. Ivanhoe (Richard Thorpe)
5. Talk About A Stranger (David Bradley)
6. The Flavor Of Green Tea Over Rice (Yasujiro Ozu)
7. Europa ’51 (Roberto Rossellini)
8. My Son John (Leo McCarey)
9. Invitation (Gottfried Reinhold)
10. Ruby Gentry (King Vidor)
BEST ACTOR
1. Robert Mitchum in Angel Face (and Macao and The Lusty Men and One Hour To Zero)
2. Robert Ryan in On Dangerous Ground
3. Dan Dailey in Pride Of St. Louis
4. Gerard Philipe in Fanfan la Tulipe
5. Billy Gray in Talk About A Stranger
BEST ACTRESS
1. Jean Simmons in Angel Face
2. Dorothy McGuire in Invitation
3. Ingrid Bergman in Europa ‘51
4. Susan Hayward in The Lusty Men (but not With A Song In My Heart or The Snows Of Kilimanjaro)
5. Ann Blyth in One Hour To Zero
BEST SUPPORTING ACTOR
1. Brad Dexter in Macao
2. Arthur Hunnicutt in The Big Sky
3. Jean Marc Tennberg in Fanfan la Tulipe
4. Arthur Kennedy in The Lusty Men
5. Dick Powell in The Bad and the Beautiful
BEST SUPPORTING ACTRESS
1. Barbara O’Neil in Angel Face
2. Colette Marchand in Moulin Rouge
3. Gloria Grahame in Macao
4. Lynn Bari in Has Anybody Seen My Gal?
5. Ruth Roman in Invitation
BEST DIRECTOR
1. Otto Preminger for Angel Face
2. Nicholas Ray for The Lusty Men and On Dangerous Ground
3. David Bradley for Talk About A Stranger
4. Yasujiro Ozu for The Flavor Of Green Tea Over Rice
5. King Vidor for Ruby Gentry
BEST ORIGINAL SCREENPLAY
1. Angel Face
2. The Lusty Men
3. The Flavor Of Green Tea Over Rice
4. Invitation
5. Singin’ In The Rain
BEST ADAPTED SCREENPLAY
1. Ivanhoe
2. On Dangerous Ground
3. Fanfan la Tulipe
4. Moulin Rouge
5. The Bad And The Beautiful
BEST BLACK-AND-WHITE CINEMATOGRAPHY
1. Talk About A Stranger – John Alton
2. On Dangerous Ground – George E. Diskant
3. The Sniper – Burnett Guffey
4. The Lusty Men – Lee Garmes
5. My Cousin Rachel – Joseph LaSalle
BEST COLOR CINEMATOGRAPHY
1. Moulin Rouge – Oswald Morris
2. Million Dollar Mermaid – George Folsey
3. What Price Glory? – Joe MacDonald
4. Ivanhoe – Freddie Young
5. The Snows Of Kilimanjaro – Leon Shamroy
BEST FILM EDITING
1. Ivanhoe
2. Talk About A Stranger
3. Moulin Rouge
4. On Dangerous Ground
5. Angel Face
BEST ART DIRECTION
1. Moulin Rouge
2. Ivanhoe
3. The Snows Of Kilimanjaro
4. Macao
5. Invitation
BEST COSTUME DESIGN
1. Moulin Rouge
2. Ivanhoe
3. Ruby Gentry
4. Invitation
5. Million Dollar Mermaid
BEST MUSIC – MUSICAL FILM
1. Hans Christian Andersen
2. Singin’ In The Rain
3. Les Belles de Nuit
4. Oklahoma Annie
5. Son Of Paleface
BEST MUSIC – NON-MUSICAL FILM
1. Moulin Rouge – Georges Auric
2. Ivanhoe – Miklos Rozsa
3. On Dangerous Ground and The Snows Of Kilimanjaro – Bernard Herrmann
4. Ruby Gentry – Heinz Roemheld
5. Sudden Fear – Elmer Bernstein
BEST SONG
1. “Anywhere I Wander" (Hans Christian Andersen) – Frank Loesser
2. "Wonderful Copenhagen" (Hans Christian Andersen) – Frank Loesser
4 “No Two People” (Hans Christian Andersen) – Frank Loesser
4. “High Noon” (High Noon) – Dimitri Tiomkin and Ned Washington
5. “Ocean Breeze” (Macao) – Jule Styne and Leo Robin
BEST SPECIAL EFFECTS
1. One Hour To Zero
2. Plymouth Adventure
3. Carson City
4. Desperate Search
5. Hans Christian Andersen
BEST MAKE-UP
1. Moulin Rouge
2. Blackbeard The Pirate
3. Othello
WORST MOVIE Of 1952
The Miracle Of Our Lady Of Fatima
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
That was awesome, Dennis. I loved seeing 'The Bad and the Beautiful' when I was a kid and I saw it again recently and loved it just as much. I've always wondered why 'The Bad and the Beautiful' was never nominated.
Good analysis, Dennis. I'd never considered the fact that Untited Artists, as well as Republic, was considered in such low esteem at the time, which says a lot about the race.
I first saw Singin' in the Rain when it played on TV in the late 50s or early 60s and enjoyed it immensely, but didn't really fall in love with it until I saw in in a theatre in the early 70s. As I recall, it was raining out when I emerged from the theatre. What more could I ask for?
I don't know about The Bad and the Beautiful. It is beautifully directed by Minnelli, nicely photographed by Robert Surtees, with a great score by David Raskin, and boasts strong performances by Douglas, Turner, Powell and the rest of the cast, but was probably a bit too cynical to have gotten widespread support at the time.
Grahame's Oscar was in part recognition for the film as a whole, but also for her wide range of work that year. She was also in The Greatest Show on Earth, as well as Sudden Fear and Macao, all of which paled in comparison to her groundbreaking performance in In a Lonely Place two years earlier.
