It's a shame that in quite possibly the strongest year of his career, James Stewart seems likely to fall into the camp of Winners With Nary A Single Vote. I rewatched The Philadelphia Story a couple of years ago. I found it a little stagey at times, although often it creates an appropriately dizzy roundelay of privileged romantic miscommunications. Aside from some lovely performances, I think my favorite part of the film are the names. They recall states of mind far too ranging for mortal men.
The Shop Around the Corner is one of my ten favorite films. It's so other-wordly wonderful, and James Stewart is such a glorious prickishly closeted romantic. Were this not the year of Henry Fonda, he would be my choice. He and Margaret Sullivan are fantastic on-screen. 1940 was a couple years before my time so I have no idea if it was seen at the times as just another solid Hollywood product, but was Sullivan seen as any kind of contender or were the two more visibly pushed for The Mortal Storm?
(A Borzage, Cukor, and Lubitsch in one year, let alone following a Capra? You really can't begrudge a win for a year like that.)
Best Actor 1940
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Bruce_Lavigne
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The Great Dictator has never done anything for me, including Chaplin's performance. Stewart is as good in The Philadelphia Story as he's ever been, but as others have said, it's hard to justify that he won for this and not Mr. Smith or one of his later iconic roles, or was nominated for this instead of The Shop Around the Corner -- or that he was nominated without a corresponding nod for Cary Grant. And Rebecca has one of my favorites of Olivier's screen performances, but that's not really enough to get a vote from me. (I've never seen Abe Lincoln in Illinois. Doesn't sound like I'm missing anything that would do a whole lot for me.)
But like everyone else, I pick Fonda. Simply an all-time classic.
But like everyone else, I pick Fonda. Simply an all-time classic.
I identify Massey much more with his performance in East of Eden than I do as Abe Lincoln. The latter is fine work, but a rather humdrum and boring film.
Lawrence Olivier finds the perfect balance between dashing mystique and murky malevolence and keeps—even those who've already read du Maurier's novel—guessing up until the very end of Rebecca. It's one of his signature performances, I think, and very solid. He's also rather generous in allowing the women in that film to shine, particularly Judith Anderson.
Jimmy Stewart's work in The Philadelphia Story has been covered rather exhaustively here. It's a make-up Oscar, but it's not insubstantial work. I agree with others who think he's kind of the weak link. I'd rank Ruth Hussey higher even.
Charlie Chaplin's scene with the globe balloon is really quite fun, but this movie feels more "of a time" than it does award-worthy. The allusions to Hitler are pitch perfect.
Henry Fonda's final monologue in The Grapes of Wrath is a mesmorizing cinematic moment. Just exquisitely rendered in a film that is as dark yet hopeful as mankind itself. In a film where I would've easily given out gongs for Best Supporting Actress (Darwell) and Best Supporting Actor (Carradine), his win would've been wholly justified, even necessary. He gets my easy vote.
Edited By flipp525 on 1297803186
Lawrence Olivier finds the perfect balance between dashing mystique and murky malevolence and keeps—even those who've already read du Maurier's novel—guessing up until the very end of Rebecca. It's one of his signature performances, I think, and very solid. He's also rather generous in allowing the women in that film to shine, particularly Judith Anderson.
Jimmy Stewart's work in The Philadelphia Story has been covered rather exhaustively here. It's a make-up Oscar, but it's not insubstantial work. I agree with others who think he's kind of the weak link. I'd rank Ruth Hussey higher even.
Charlie Chaplin's scene with the globe balloon is really quite fun, but this movie feels more "of a time" than it does award-worthy. The allusions to Hitler are pitch perfect.
Henry Fonda's final monologue in The Grapes of Wrath is a mesmorizing cinematic moment. Just exquisitely rendered in a film that is as dark yet hopeful as mankind itself. In a film where I would've easily given out gongs for Best Supporting Actress (Darwell) and Best Supporting Actor (Carradine), his win would've been wholly justified, even necessary. He gets my easy vote.
Edited By flipp525 on 1297803186
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Mister Tee
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Yes, a bountiful year, with many (Olivier, Stewart, Grant) giving mutiple fine performances.
I have as fresh a perspective as possible on Jimmy Stewart's Philadelphia Story performance, having watched it just yesterday. It's certainly not the year's best performance -- it's hard to even justify why he's nominated and Grant is not -- which makes the make-up factor a convenient explanation for his win. But he's quite good in the film, and, maybe importantly, he's playing a very different character from his previous year's idealist. Macaulay Conner is a deep-dyed cynic (it's like a sneak preview of the later darker characters Stewart would play in the 50s), yet one blind to some of his own imperfections -- I'd say he and Tracy Lord go through almost equal awakenings in the course of the film. As make-up awards go, it's at about the Paul Newman/Color of Money level...maybe not win-worthy, but far from an embarrassment and not unrepresentative of the actor's ability.
Chaplin was denied nomination for his greatest work in both silents and sound, yet somehow nominated for this overlong and over-pious effort. Not a chance.
Is Raymond Massey still as permanently identified with Lincoln as he was when I was a kid? I remember Massey/Lincoln jokes from the Dick van Dyke Show in the mid-60s. He's perfectly solid, though maybe not as memorable as Fonda had been in the role a year earlier.
I'd have a very tough time deciding whether Laurence Olivier deserved nomination more for Rebecca or Pride and Prejudice (but then, the latter may be my very favorite film of 1940). He was beginning to get really comfortable as a screen actor, contributing quality work each time out. But he has better nominations, both Shakespearean and non-, upcoming, and I'll hold off on honoring him.
Henry Fonda, though viewed with nearly as much respect as Olivier, somehow did very poorly with the Oscars over the years, until they finally apologetically handed him a prize for embarrassing twaddle. Thankfully, we can rectify that mistake, awarding him instead here when he was at his zenith. His anguished Tom Joad seems to speak for much of the nation (and to Fonda's own political leanings), especially of course in that familar final speech. A wonderful performance, clearly deserving of my vote in this strong year.
I have as fresh a perspective as possible on Jimmy Stewart's Philadelphia Story performance, having watched it just yesterday. It's certainly not the year's best performance -- it's hard to even justify why he's nominated and Grant is not -- which makes the make-up factor a convenient explanation for his win. But he's quite good in the film, and, maybe importantly, he's playing a very different character from his previous year's idealist. Macaulay Conner is a deep-dyed cynic (it's like a sneak preview of the later darker characters Stewart would play in the 50s), yet one blind to some of his own imperfections -- I'd say he and Tracy Lord go through almost equal awakenings in the course of the film. As make-up awards go, it's at about the Paul Newman/Color of Money level...maybe not win-worthy, but far from an embarrassment and not unrepresentative of the actor's ability.
Chaplin was denied nomination for his greatest work in both silents and sound, yet somehow nominated for this overlong and over-pious effort. Not a chance.
Is Raymond Massey still as permanently identified with Lincoln as he was when I was a kid? I remember Massey/Lincoln jokes from the Dick van Dyke Show in the mid-60s. He's perfectly solid, though maybe not as memorable as Fonda had been in the role a year earlier.
I'd have a very tough time deciding whether Laurence Olivier deserved nomination more for Rebecca or Pride and Prejudice (but then, the latter may be my very favorite film of 1940). He was beginning to get really comfortable as a screen actor, contributing quality work each time out. But he has better nominations, both Shakespearean and non-, upcoming, and I'll hold off on honoring him.
Henry Fonda, though viewed with nearly as much respect as Olivier, somehow did very poorly with the Oscars over the years, until they finally apologetically handed him a prize for embarrassing twaddle. Thankfully, we can rectify that mistake, awarding him instead here when he was at his zenith. His anguished Tom Joad seems to speak for much of the nation (and to Fonda's own political leanings), especially of course in that familar final speech. A wonderful performance, clearly deserving of my vote in this strong year.
Fonda.
The Great Dictator is Chaplin at his most glib and self-satisfied. And not funny either. Raymond Massey was a very good actor giving a very good performance. Not for the all-time lists, but I'm glad he got this nomination; he deserved it. Stewart is very good in The Philadelphia Story, but his truly great work was to come later. Olivier makes de Winter so much more human and sympathetic than other actors might have. He's excellent. Fonda is the best though, in possibly the best performance of his career (give or take Young Mr. Lincoln). Excellent, deservedly iconic work.
The Great Dictator is Chaplin at his most glib and self-satisfied. And not funny either. Raymond Massey was a very good actor giving a very good performance. Not for the all-time lists, but I'm glad he got this nomination; he deserved it. Stewart is very good in The Philadelphia Story, but his truly great work was to come later. Olivier makes de Winter so much more human and sympathetic than other actors might have. He's excellent. Fonda is the best though, in possibly the best performance of his career (give or take Young Mr. Lincoln). Excellent, deservedly iconic work.
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anonymous1980
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I've seen all except Raymond Massey.
James Stewart was perfectly good in The Philadelphia Story but I always thought Cary Grant was better in that film. I think this is a make-up win for Mr. Smith Goes to Washington. Laurence Olivier was very good but the two ladies in Rebecca (Joan Fontaine and Judith Anderson) both overshadow him.
It's down to Henry Fonda and Charlie Chaplin for me. Henry Fonda gives one of his iconic performances and he's unforgettable but my vote goes to Chaplin who has dual roles in his film plus he had to be funny.
Edited By anonymous on 1297756418
James Stewart was perfectly good in The Philadelphia Story but I always thought Cary Grant was better in that film. I think this is a make-up win for Mr. Smith Goes to Washington. Laurence Olivier was very good but the two ladies in Rebecca (Joan Fontaine and Judith Anderson) both overshadow him.
It's down to Henry Fonda and Charlie Chaplin for me. Henry Fonda gives one of his iconic performances and he's unforgettable but my vote goes to Chaplin who has dual roles in his film plus he had to be funny.
Edited By anonymous on 1297756418
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An excellent line-up with as Big Magilla points out, plenty to pick from. I voted for Charles Chaplin in one of his best roles.
My choices:
1. Laurence Olivier for Pride and Prejudice
2. Charles Chaplin for The Great Dictator
3. Henry Fonda for The Grapes of Wrath
4. Raymond Massey for Abe Lincoln in Illinois
5. Edward G. Robinson for Brother Orchid
My choices:
1. Laurence Olivier for Pride and Prejudice
2. Charles Chaplin for The Great Dictator
3. Henry Fonda for The Grapes of Wrath
4. Raymond Massey for Abe Lincoln in Illinois
5. Edward G. Robinson for Brother Orchid
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Big Magilla
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If 1939 was, as they say, the greatest movie year ever, 1940 was quite possibly the best year for actors ever with at least as many Oscar worthy performances from thsoe who were not nominated as those who were.
Among the ignored:
Cary Grant in His Girl Friday
Edward G. Robinson in Dr. Ehrlich's Magic Bullet
Pat O'Brien in Knute Rockne, All-American
James Cagney in City for Conquest
William Holden in Our Town
Margaret Sullavan in The Shop Around the Corner
Rosalind Russell in His Girl Friday
Vivien Leigh in Waterloo Bridge
Greer Garson in Pride and Prejudice
Irene Dunne in My Favorite Wife
Frank Morgan in The Mortal Storm
Thomas Mitchell in The Long Voyage Home
John Carradine in The Grapes of Wrath
George Sanders in Rebecca
Herbert Marshall in The Letter
Edna May Oliver in Pride and Prejudice
Flora Robson in The Sea Hawk
Lucile Watson in Waterloo Bridge
Fay Bainter in Our Town
Ruth Gordon in Abe Lincoln in Illinois
Of the actual best actor nominees, it's difficult to say who among them should have been left out, although winner James Stewart should have been nominated for The Shop Around the Corner, not The Philadelphia Story.
The one actor I would have no problem omitting is Charles Chaplin in The Great Dictator. I think the film's success had more to do with what it was trying to say than what it actually accomplished. The film's comic highlights are few and Chaplin's six minutes of preaching to the audience at the end of the film is a mistake. Cary Grant's comic timing in The Philadelphia Story; My Favorite Wife and especially His Girl Friday was so much smoother. He should have been nominated for the latter in place of Chaplin.
Raymond Massey was, as was the critical consensus of the time, born to play Abraham Lincoln and Abe Lincoln in Illinois which he had previously played on Broadway was the perfect vehicle for him.
Laurence Olivier proved his versatility with his contrasting portrayals of Maxim DeWinter in Rebecca and Mr. Darcy in Pride and Prejudice, and unlike Stewart, was nominated for the right film.
Stewart's win was almost unanimously seen as a make-up for his having lost for Mr. Smith Goes to Washington the year before, but his portrayal of the smitten reporter in The Philadelphia Story speaks for itself. It's quite good, even if it isn't quite on the same level as Smith and Shop.
The best performance, though, was the one given by Stewart's best friend, Henry Fonda as everyman Tom Joad in The Grapes of Wrath.
There were many things that went into making Grapes the masterpiece that it was - Steinbeck's novel, Nunnally Johnson's screenplay, John Ford's direction, Gregg Toland's cinematography, the performances of the great supporting cast, particularly those of Jane Darwell and John Carradine, but towering above them all was Fonda's astonishing performance, the most brilliant of his celebrated career. He easily gets my vote.
Edited By Big Magilla on 1297747188
Among the ignored:
Cary Grant in His Girl Friday
Edward G. Robinson in Dr. Ehrlich's Magic Bullet
Pat O'Brien in Knute Rockne, All-American
James Cagney in City for Conquest
William Holden in Our Town
Margaret Sullavan in The Shop Around the Corner
Rosalind Russell in His Girl Friday
Vivien Leigh in Waterloo Bridge
Greer Garson in Pride and Prejudice
Irene Dunne in My Favorite Wife
Frank Morgan in The Mortal Storm
Thomas Mitchell in The Long Voyage Home
John Carradine in The Grapes of Wrath
George Sanders in Rebecca
Herbert Marshall in The Letter
Edna May Oliver in Pride and Prejudice
Flora Robson in The Sea Hawk
Lucile Watson in Waterloo Bridge
Fay Bainter in Our Town
Ruth Gordon in Abe Lincoln in Illinois
Of the actual best actor nominees, it's difficult to say who among them should have been left out, although winner James Stewart should have been nominated for The Shop Around the Corner, not The Philadelphia Story.
The one actor I would have no problem omitting is Charles Chaplin in The Great Dictator. I think the film's success had more to do with what it was trying to say than what it actually accomplished. The film's comic highlights are few and Chaplin's six minutes of preaching to the audience at the end of the film is a mistake. Cary Grant's comic timing in The Philadelphia Story; My Favorite Wife and especially His Girl Friday was so much smoother. He should have been nominated for the latter in place of Chaplin.
Raymond Massey was, as was the critical consensus of the time, born to play Abraham Lincoln and Abe Lincoln in Illinois which he had previously played on Broadway was the perfect vehicle for him.
Laurence Olivier proved his versatility with his contrasting portrayals of Maxim DeWinter in Rebecca and Mr. Darcy in Pride and Prejudice, and unlike Stewart, was nominated for the right film.
Stewart's win was almost unanimously seen as a make-up for his having lost for Mr. Smith Goes to Washington the year before, but his portrayal of the smitten reporter in The Philadelphia Story speaks for itself. It's quite good, even if it isn't quite on the same level as Smith and Shop.
The best performance, though, was the one given by Stewart's best friend, Henry Fonda as everyman Tom Joad in The Grapes of Wrath.
There were many things that went into making Grapes the masterpiece that it was - Steinbeck's novel, Nunnally Johnson's screenplay, John Ford's direction, Gregg Toland's cinematography, the performances of the great supporting cast, particularly those of Jane Darwell and John Carradine, but towering above them all was Fonda's astonishing performance, the most brilliant of his celebrated career. He easily gets my vote.
Edited By Big Magilla on 1297747188