Mister Tee wrote:This is, as you say, the first modern-day slate of nominees, and I think, in this category at least, it feels pretty substantial: you get the feeling a comparable group might be nominated in any good current year.
Chaplin/Modern Times is the glaring omittee, but I think by then the Oscars had made clear silent films need not apply.
The biggest mistake in the group as constituted is Tracy being cited for the wrong film. His San Francisco role is nowhere near lead; he's better in Libeled Lady; and he's best of all in Fury. That, in fact, would be my runner-up performance of the year.
I'll have to dissent and say I believe William Powell is nominated in the right place. Great Ziegfeld is a bloated bore. My Man Godfrey sails along beautifully, and Powell's savoir faire is much of the reason why. I've already given him my best actor nod two years earlier, but this is another quite deserving nod.
As I said in an earlier thread, I found Paul Muni a more appealing actor before he started doing his Hall of Great Men impersonations. But at least his early ones -- Pasteur and Zola -- are entertaining.
I have to confess, Gary Cooper's never been a huge enthusiasm of mine. And Mr. Deeds may be my least favorite of the major Capra movies. I think the movie drags on and on, and the Cooper/Arthur chemistry doesn't have the juice that the pairing with James Stewart three years later achieves.
Anyway, little of this matters, because, for me, the most complex role, and the fullest performance, is clearly the one given by Walter Huston as Sam Dodsworth. We discussed this film pretty fully in the supporting actress thread. I'll reiterate that I think it may be the most mature, thoughtful American film of the era, and Huston brings the full measure of his talent to the role. His joie de vivre a decade later in Treasure of Sierra Madre is also something to behold...but this, I think, is his finest hour. An easy choice.
Best Actor 1936
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nightwingnova
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Re:
I have to agree with you Mister Tee regarding William Powell. What performance? It was his usual schtick done not well. The Great Ziegfeld is worthy only for preserving the performances of great vaudeville performers.
Re: Best Actor 1936
Not only is Spencer Tracy's role supporting, neither the character nor his performance is particularly interesting (and he had dome some excellent work prior to this, such as in Man's Castle, so it's not like this was any kind of breakthrough role).
Paul Muni is typically fussy, and is constantly reminding the audience that we're not observing Louis Pasteur, we're seeing an actor playing (an overly mannered) Louis Pasteur.
Gary Cooper does his usual superb imitation of a piece of driftwood.
That leaves two great performances, and it's a matter of deicing whether you want to go comedic or dramatic.
William Powell is perfect as Godfrey, and on top of his expected comic acumen he brings great heart and dignity to his role.
But Walter Huston is so riveting, and so quietly virtuosic -- this is a paradigm for perfect screen acting. It's a performance that conveys a huge mixture of feelings, emotions and characteristic -- not all of them admirable -- but does so without ever calling attention to itself. It's probably the male English-language performance of the decade. I vote for Walter Huston enthusiastically, but also with a certain regret for not being able to vote for William Powell as well.
My Own Top 5:
1. Walter Huston in Dodsworth
2. William Powell in My Man Godfrey
3. Jean Gabin in The Lower Depths
4. Ronald Colman in A Tale Of Two Cities
5. Fredric March in The Road To Glory
Paul Muni is typically fussy, and is constantly reminding the audience that we're not observing Louis Pasteur, we're seeing an actor playing (an overly mannered) Louis Pasteur.
Gary Cooper does his usual superb imitation of a piece of driftwood.
That leaves two great performances, and it's a matter of deicing whether you want to go comedic or dramatic.
William Powell is perfect as Godfrey, and on top of his expected comic acumen he brings great heart and dignity to his role.
But Walter Huston is so riveting, and so quietly virtuosic -- this is a paradigm for perfect screen acting. It's a performance that conveys a huge mixture of feelings, emotions and characteristic -- not all of them admirable -- but does so without ever calling attention to itself. It's probably the male English-language performance of the decade. I vote for Walter Huston enthusiastically, but also with a certain regret for not being able to vote for William Powell as well.
My Own Top 5:
1. Walter Huston in Dodsworth
2. William Powell in My Man Godfrey
3. Jean Gabin in The Lower Depths
4. Ronald Colman in A Tale Of Two Cities
5. Fredric March in The Road To Glory
"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
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The Original BJ
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I finally watched The Story of Louis Pasteur, which I had recorded during TCM's 31 Days of Oscar, so...
Spencer Tracy would have been a decent supporting actor contender, but he just doesn't have enough to do in San Francisco to be considered for Best Actor.
I have about the same feeling toward Paul Muni as many here -- love him in I Am a Fugitive From a Chain Gang, but find his biopic performances fairly uninteresting. I don't like to use the term "pre-Method" as a derogative, as there were plenty of great screen performances that existed prior to that style of acting...but Muni here exemplifies a fairly dated style of performing where everything is externalized, and nothing goes deeper than the superficial.
I much prefer light comic Gary Cooper to stolid dramatic Gary Cooper, and as a result, I think Mr. Deeds is the best of his five nominations. (Though I like Ball of Fire best of all.) I find his befuddled country bumpkin both delightful and touching, and think this would have been a solid enough place to honor his career.
William Powell was absolutely nominated for the right movie -- I love My Man Godfrey and he's a joy in it. There's such effortless charm, such impish delight in his performance, you can't help but smile throughout the whole movie.
But I ended up picking the most dramatically resonant performance and went with the majority's choice: Walter Huston. The actor tackles what is obviously the richest role here, and embraces the contradictions and complexities of his character in fascinating ways. A lesser actor might have played Sam Dodsworth as a man who experiences an epiphany, who wakes up one day and realizes his life isn't all he wanted it to be. But instead, Huston opts for the more realistic, more poignant approach of playing a man still trying to figure out this thing called life, in fits and starts, just like everybody else. I agree with Uri that Huston's work here feels far less like a performance than the other nominees -- and most nominees of this era. It's more like raw humanity, which gives Dodsworth's search for happiness great power.
Spencer Tracy would have been a decent supporting actor contender, but he just doesn't have enough to do in San Francisco to be considered for Best Actor.
I have about the same feeling toward Paul Muni as many here -- love him in I Am a Fugitive From a Chain Gang, but find his biopic performances fairly uninteresting. I don't like to use the term "pre-Method" as a derogative, as there were plenty of great screen performances that existed prior to that style of acting...but Muni here exemplifies a fairly dated style of performing where everything is externalized, and nothing goes deeper than the superficial.
I much prefer light comic Gary Cooper to stolid dramatic Gary Cooper, and as a result, I think Mr. Deeds is the best of his five nominations. (Though I like Ball of Fire best of all.) I find his befuddled country bumpkin both delightful and touching, and think this would have been a solid enough place to honor his career.
William Powell was absolutely nominated for the right movie -- I love My Man Godfrey and he's a joy in it. There's such effortless charm, such impish delight in his performance, you can't help but smile throughout the whole movie.
But I ended up picking the most dramatically resonant performance and went with the majority's choice: Walter Huston. The actor tackles what is obviously the richest role here, and embraces the contradictions and complexities of his character in fascinating ways. A lesser actor might have played Sam Dodsworth as a man who experiences an epiphany, who wakes up one day and realizes his life isn't all he wanted it to be. But instead, Huston opts for the more realistic, more poignant approach of playing a man still trying to figure out this thing called life, in fits and starts, just like everybody else. I agree with Uri that Huston's work here feels far less like a performance than the other nominees -- and most nominees of this era. It's more like raw humanity, which gives Dodsworth's search for happiness great power.
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Bruce_Lavigne
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My sentiments regarding the nominees were nicely manifested by Tee and Reza. I'll add Robert Donat for The Ghost Goes West, if eligible, to the mix.
Huston's is really one of the greatest performances ever, certainly in a Hollywood studio film. It's completely timeless – each of the other performances, either for their style or their content, are the product of their era (Powell's, among the rest, is the least dated, but still his film is very much of its period). When I watched Dodsworth for the first time I was blown away by its relevance, lack of sentimentality and shear intelligence (and its striking visuals). I wasn't surprised by Huston and Astor though – I was aware of the fact they were among the best screen actors before, (and Chaterton, which I haven't seen any other of her films, fitted in beautifully), still this is definitely Huston's glorious career highpoint. Best actor of the year, the decade, you name it.
Huston's is really one of the greatest performances ever, certainly in a Hollywood studio film. It's completely timeless – each of the other performances, either for their style or their content, are the product of their era (Powell's, among the rest, is the least dated, but still his film is very much of its period). When I watched Dodsworth for the first time I was blown away by its relevance, lack of sentimentality and shear intelligence (and its striking visuals). I wasn't surprised by Huston and Astor though – I was aware of the fact they were among the best screen actors before, (and Chaterton, which I haven't seen any other of her films, fitted in beautifully), still this is definitely Huston's glorious career highpoint. Best actor of the year, the decade, you name it.
Dodsworth is one of the great Wyler films that seems to have been forgotten today and completely overshadowed by many of his later films. A superb cast - Walter Huston, Ruth Chatterton, Mary Astor and David Niven - and great production values make this one of the best films from the 1930s. A crime that both Huston and Astor did not win Oscars.......they play so beautifully opposite each other.
Cooper, Powell and Muni (who won) were all rightfully nominated that year. Tracy was great in two supporting roles that year - San Francisco and Libeled Lady - although he should have been instead nominated for his lead role in Fury.
Voted for Huston.
My picks for 1936:
Walter Huston, Dodsworth
Charles Chaplin, Modern Times
Spencer Tracy, Fury
William Powell, My Man Godfrey
Gary Cooper, Mr Deeds Goes to Town
Edited By Reza on 1296584086
Cooper, Powell and Muni (who won) were all rightfully nominated that year. Tracy was great in two supporting roles that year - San Francisco and Libeled Lady - although he should have been instead nominated for his lead role in Fury.
Voted for Huston.
My picks for 1936:
Walter Huston, Dodsworth
Charles Chaplin, Modern Times
Spencer Tracy, Fury
William Powell, My Man Godfrey
Gary Cooper, Mr Deeds Goes to Town
Edited By Reza on 1296584086
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Mister Tee
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This is, as you say, the first modern-day slate of nominees, and I think, in this category at least, it feels pretty substantial: you get the feeling a comparable group might be nominated in any good current year.
Chaplin/Modern Times is the glaring omittee, but I think by then the Oscars had made clear silent films need not apply.
The biggest mistake in the group as constituted is Tracy being cited for the wrong film. His San Francisco role is nowhere near lead; he's better in Libeled Lady; and he's best of all in Fury. That, in fact, would be my runner-up performance of the year.
I'll have to dissent and say I believe William Powell is nominated in the right place. Great Ziegfeld is a bloated bore. My Man Godfrey sails along beautifully, and Powell's savoir faire is much of the reason why. I've already given him my best actor nod two years earlier, but this is another quite deserving nod.
As I said in an earlier thread, I found Paul Muni a more appealing actor before he started doing his Hall of Great Men impersonations. But at least his early ones -- Pasteur and Zola -- are entertaining.
I have to confess, Gary Cooper's never been a huge enthusiasm of mine. And Mr. Deeds may be my least favorite of the major Capra movies. I think the movie drags on and on, and the Cooper/Arthur chemistry doesn't have the juice that the pairing with James Stewart three years later achieves.
Anyway, little of this matters, because, for me, the most complex role, and the fullest performance, is clearly the one given by Walter Huston as Sam Dodsworth. We discussed this film pretty fully in the supporting actress thread. I'll reiterate that I think it may be the most mature, thoughtful American film of the era, and Huston brings the full measure of his talent to the role. His joie de vivre a decade later in Treasure of Sierra Madre is also something to behold...but this, I think, is his finest hour. An easy choice.
Chaplin/Modern Times is the glaring omittee, but I think by then the Oscars had made clear silent films need not apply.
The biggest mistake in the group as constituted is Tracy being cited for the wrong film. His San Francisco role is nowhere near lead; he's better in Libeled Lady; and he's best of all in Fury. That, in fact, would be my runner-up performance of the year.
I'll have to dissent and say I believe William Powell is nominated in the right place. Great Ziegfeld is a bloated bore. My Man Godfrey sails along beautifully, and Powell's savoir faire is much of the reason why. I've already given him my best actor nod two years earlier, but this is another quite deserving nod.
As I said in an earlier thread, I found Paul Muni a more appealing actor before he started doing his Hall of Great Men impersonations. But at least his early ones -- Pasteur and Zola -- are entertaining.
I have to confess, Gary Cooper's never been a huge enthusiasm of mine. And Mr. Deeds may be my least favorite of the major Capra movies. I think the movie drags on and on, and the Cooper/Arthur chemistry doesn't have the juice that the pairing with James Stewart three years later achieves.
Anyway, little of this matters, because, for me, the most complex role, and the fullest performance, is clearly the one given by Walter Huston as Sam Dodsworth. We discussed this film pretty fully in the supporting actress thread. I'll reiterate that I think it may be the most mature, thoughtful American film of the era, and Huston brings the full measure of his talent to the role. His joie de vivre a decade later in Treasure of Sierra Madre is also something to behold...but this, I think, is his finest hour. An easy choice.
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Big Magilla
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Here we have the first Best Actor of the Academy Awards as we know it, with five nominees each for Best Actor; Actress; Supporting Actor and Supporting Actress.
Although arguments could be made for the inclusion of both Charles Laughton in Rembrandt and Charles Chaplin in Modern Times, I think the Academy chose the year's five best actors even if two of them are nominated for the wrong films.
Spencer Tracy's waterfront priest in San Francisco was in support of stars Clark Gable and Jeanette MacDonald and as such he should have nominated and won in the supporting category. He should have gotten a Best Actor nod for his innocent man who turns bitter after his attempted lynching in Fury.
William Powell was wonderful in My Man Godfrey. He was also wonderful in After the Thin Man and Libeled Lady, but his best 1936 performance was in The Great Ziegfeld. The film is bloated, but never boring, thanks mainly to the charm of Powell and Myrna Loy, who, alas, doesn't enter until the third act.
Paul Muni was beginning his Great Man period in The Story of Louis Pasteur, but this as well as the following year's The Life of Emile Zola still hold up and represent the best of his work in that regard.
Walter Huston probably gave the performance of his considerable career as the retired businessman in Dodsworth and would get my vote were it not for Gary Cooper in Mr. Deeds Goes to Town.
Frank Capra's Depression Era gem was so popular it played over a year in theatres that usually didn't run a film for more than a week or two and is the film that established the course of the remainder of Capra's career and firmly entrenched Cooper's already established screen persona as the quintessential 'aw shucks' good guy It's this performance more than other that I think of when I think of the actor and he gets my vote.
Edited By Big Magilla on 1296576834
Although arguments could be made for the inclusion of both Charles Laughton in Rembrandt and Charles Chaplin in Modern Times, I think the Academy chose the year's five best actors even if two of them are nominated for the wrong films.
Spencer Tracy's waterfront priest in San Francisco was in support of stars Clark Gable and Jeanette MacDonald and as such he should have nominated and won in the supporting category. He should have gotten a Best Actor nod for his innocent man who turns bitter after his attempted lynching in Fury.
William Powell was wonderful in My Man Godfrey. He was also wonderful in After the Thin Man and Libeled Lady, but his best 1936 performance was in The Great Ziegfeld. The film is bloated, but never boring, thanks mainly to the charm of Powell and Myrna Loy, who, alas, doesn't enter until the third act.
Paul Muni was beginning his Great Man period in The Story of Louis Pasteur, but this as well as the following year's The Life of Emile Zola still hold up and represent the best of his work in that regard.
Walter Huston probably gave the performance of his considerable career as the retired businessman in Dodsworth and would get my vote were it not for Gary Cooper in Mr. Deeds Goes to Town.
Frank Capra's Depression Era gem was so popular it played over a year in theatres that usually didn't run a film for more than a week or two and is the film that established the course of the remainder of Capra's career and firmly entrenched Cooper's already established screen persona as the quintessential 'aw shucks' good guy It's this performance more than other that I think of when I think of the actor and he gets my vote.
Edited By Big Magilla on 1296576834