Judging Oscar: Best Picture 1936

All right, let’s see if I remember how to do one of these.

-Year in Summary/What Did Win-

Evidently, the Academy felt that twelve nominees for Best Picture was a tad too much; the field was trimmed back down to ten this year, and would remain so for several years going forth. In what many assume was a direct response to Mutiny on the Bounty’s triplicate Best Actor nominations the year before, 1936 saw the introduction of the Supporting Actor and Supporting Actress categories, with Walter Brennan’s good standing with the extras union and their ability to vote for the category netting him his first of three wins in the category. Ultimately, the big one went to The Great Ziegfeld, which became the longest film to win the award up to that point.

-Ranking the Nominees-

Anthony Adverse

Anthony Adverse ended up getting the most awards come Oscar night, as well as being one of the films with the most nominations. For the life of me, I cannot understand why; this film, adapted from a 1,200 page novel, was a slog to get through. No entertainment value, and almost no redeeming features, and this gets nominated for Best Picture? Please.

Romeo and Juliet

-This one too. William Shakespeare will go on to have a pretty decent reputation with the Academy in terms of film adaptations of his work, but this Romeo and Juliet version should definitely not be one of them. George Cukor has himself a reputation as one of the most consistent directors of old Hollywood, but for me, I can amend that statement to include the word “poor” after the key word there; his films are well put together enough, but they’re just not entertaining, and I’m still having a hard time trying to figure out exactly why.

Three Smart Girls

-Now we start to run into nominees that weren’t necessarily bad, but definitely shouldn’t have been nominated for this regardless. Three Smart Girls has some things going for it; unfortunately, if pressed for further explanation as to what the film really does have as selling points, I’d probably stutter and look slightly dumbfounded as a response. I didn’t dislike the film, but neither did I find it all that great, and that’s not one of the best pictures of the year for me, in any year.

The Story of Louis Pasteur

The Story of Louis Pasteur ends up as low as it does because of its similarities in faults to other prior Best Picture nominees, such as Disraeli and She Done Him Wrong; aside from the lead performance, this would not, and should not have, been nominated for Best Picture. Muni makes this worth watching, and if you remove him from the picture, you absolutely have no reason to bother sitting through it. Biopics come and go in this category, and I have a feeling many more future nominees will end up making the same mistakes that this one did.

A Tale of Two Cities

-I described A Tale of Two Cities as a “smear of grey” type of film in my review, and I stand by that; it’s decent, but if you’re pressed for elaboration on what makes it decent, your brain will more than likely come up blank. Ronald Colman wasn’t insufferable to watch, though, so there’s one for the win category.

Libeled Lady

Libeled Lady is ending up in this spot simply by virtue of my ranking the other films either above or below it. I liked it, but it was thanks to the charms of the stars in the picture that I did, and not really because of the film itself, and I can’t really place it any higher because of that reasoning. Still, for this to just manage to make it into the fold if the field were reduced to five, that’s probably enough of a win for it anyway.

The Great Ziegfeld

The Great Ziegfeld has a long-ass running time, a middle section with production value out the wazoo, and enough star recognition to certainly fill the seats at every theater it can. Should that mean that this should’ve won Best Picture? Evidently, according to the Academy that year, but not according to me; ignore all that the film wants to tout as selling points, and you have a rudimentary biopic with some solid performances from the cast; that’s it. As I said in my review of this, as well as plenty of other long-ass films; just because it has more of something, doesn’t automatically mean it’s better because of it.

San Francisco

-Now we’re getting into at the least potentially viable nominees. San Francisco surprised the heck out of me, both with how it subverted my expectations, and for the actual production value of the eponymous 1906 earthquake. I sincerely believe this got nominated for this award solely because of the earthquake sequence and everything that came after, but that doesn’t mean the film isn’t ultimately successful at what it tries to do, and in that the film is better than any of the other nominees up to this point in my ranking. It just so happens that there are other, better films that also manage to succeed at their established goals.

Dodsworth

-If I were to allow it to be so, this might be the first year of my doing this that I’d end up with a tie for first place. However, since this is just me ranking the nominees, for me, I have to come down on one side or the other, just for the sake of keeping everything in an order. To that end, I’m placing Dodsworth second just for the virtue of the other film I’m placing above it. If it hadn’t been for the other film, this should have won this award, as well as potentially a few others; it’s definitely not your run-of-the-mill nominee, and the only other thing I’m left to say about it is that this is one that is certainly worth seeing.

Mr. Deeda Goes to Town

-But, so is this one. Frank Capra ended up winning his second Best Director Oscar for Mr. Deeds Goes to Town, and if it had been up to me, from the nominees, he would’ve gotten Best Picture too. Like I said, though, I’m really torn between this and Dodsworth for who should really come out on top, and I’m only picking this one because I think it has a better and more accessible message. Don’t get me wrong, both films are very good at what they’re trying to do, but to me, Deeds is a more likable film for what it’s trying to do, and that’s pretty much why I’m placing it on top, and for little other reason. You can disagree with me if you want, and I wouldn’t fault you for it, but gun to my head, I’m picking this one.

-What Should Have Won-

Well, aside from that Ziegfeld shouldn’t have won it, there’s a few potential nominee (and award) misses here. My Man Godfrey springs up immediately; it became the first film nominated for all four acting categories, as well as the only such film not to be nominated for Best Picture, so there’s a huge miss right there. Greta Garbo’s work still would avoid this category for the time being, given Camille wasn’t nominated. Given the category’s general liking of Astaire-Rogers, I’m surprised Swing Time didn’t make it in, but I wouldn’t argue for it. But all of these pale in comparison to the Academy’s narrow-minded dismissal, I can only assume, of the silent nature of Charlie Chaplin’s Modern Times, which despite being silent was absolutely the best film I’ve seen out of 1936.

-What I Would’ve Picked-

Among the nominees, I would’ve voted for Deeds; otherwise, Modern Times all the way.

-How Did Oscar Do?-

Once again, aside from the very tip top of the field, this was a largely forgettable field of nominees, Academy. I can only hope that we’ll get to a point where things will be a little less so in the future.

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2 thoughts on “Judging Oscar: Best Picture 1936

  1. In my book Dodsworth is the clear winner here even with the inclusion of My Man Godfrey and Modern Times, who would swing in as 3 and 2. Dodsworth was such a huge surprise and joy to watch, even second time round. From a Hollywood who likes to cater to the infantile streak in the audience it is a bliss to watch a movie aimed at adults.
    I think it is telling that very few of the nominees made it to the List.

  2. Deeds or Dodsworth? I’d say the latter, if only because it’s so unusually grown-up.

    Modern Times, then? Well, it definitely belongs among the nominees, and probably should have won too.

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