Snugglecub – Page 11 – Academy Award Best Picture Winners

1941 – Orson Welles

1941 – Orson Welles

Citizen Kane

I’ll start this review of Orson Welles’ Best Actor nominated performance in Citizen Kane by saying that he was robbed. That Oscar should have been his. I mean, Gary Cooper was just fine in Sergeant York, but Here, playing the character of Charles Foster Kane, Welles turned in a multi-layered performance with nuance and depth. He had to play the man at multiple ages, ranging from old to young, with an emotional landscape that, frankly, put Sergeant York to shame.

First off, let’s go over his look. The makeup artists who made him age believably over the course of decades really knew what they were doing. From young adult to middle-age, and from mid-life to old age, he looked real and natural at every stage. And Orson pulled it off wonderfully, using his mannerisms and facial expressions to sell the look. He did a fantastic job, no matter what age he was playing.

Then there was the wonderful way the character was written. He was a man with way too much money, and a propensity for narcissism. He had a pathological need to be loved, but had very little concept of how to love anyone but himself. He treated both friends and wives as possessions, as easily bought or sold as a statue. And yet, though he built a vast empire of wealth and acquisitions, he was never fulfilled, never happy. There was a deep complexity about the man that Welles really seemed to embody perfectly. It was a stellar performance.

And I’ll finish up by going into the drama of the film. Welles really did the lion’s share of the film’s emotional heft, but it wasn’t all just him. Every character had a great story, a moment to shine, and reason for being there. But it was all aimed at enhancing Kane’s emotional journey. He was written to be an enigma, a mystery of multiple levels. Everything from his happiness to his anger, his ambition to his depression, his loves to his complete lack of understanding of love, all combined to make a truly memorable performance, for which I think Welles should have won the Oscar. It was a part that was written better, and Welles was the better actor, than Gary Cooper in Sergeant York. And it was all made even more impressive because Welles was also the writer, the director, and the producer.

1941 – James Gleason

1941 – James Gleason

Here Comes Mr. Jordan

Much like Robert Montgomery’s Best Actor nomination, I don’t really get why James Gleason’s performance was so highly regarded, though at the same time, I think Gleason deserved his nomination more than his costar. The movie is a light-hearted comedy, a genre that is often overlooked when it comes time for awards. . Gleason played a supporting character who seemed to be, at times, a bit of comic relief. And to be fair, I think he was actually the funniest part of the movie, which, unfortunately, isn’t really saying much.

He played Max “Pop” Corkle, Joe Pendleton’s boxing manager. After Joe Dies in a plane crash and comes back as a rich investment banker and tries to tell Max who he really is, Gleason’s “You’re who? Sure you are, buddy. And who’s the invisible angel you’re talking with? Let’s get you back to the loony bin,” act was perfect. But it doesn’t take long for him to be convinced of Joe’s real identity, and he finds himself trying to negotiate with the invisible angel.

It was a silly movie, and fortunately, it was clear that the actors weren’t taking any of it too seriously. But Gleason stood out, making his performance just enough over-the-top, as was necessary in a comedy, to be amusing. None of the comedy was really outrageous or in your face, but it was all pretty inoffensive and innocent.

But then in the last few scenes in the movie, his character actually took a turn for the dramatic. When Joe’s new body is murdered, he is given word that Joe has been given yet another body. He goes to meet the new Joe, and is ready to resume his relationship with his friend, only to discover that while Joe may be the man in Murdock’s body, he has no memory of his past lives, no memory of his good friend Max Corkle. I think this is where Gleason earned his Oscar nomination.

The mix of disappointment and grief at losing his friend a second time seemed to really hit him hard. There was also a sense of loss as he is once again disconnected from the supernatural, and his world becomes mundane again. There was some genuine emotion on his face that was unmistakable. Gleason did a fine job in that brief final scene. But unfortunately, because of how his part was written, and not through anything the actor did or didn’t do, I think it was too little, too late. Gleason did a good job with what he was given. He just wasn’t given much.

1941 – Robert Montgomery

1941 – Robert Montgomery

Here Comes Mr. Jordan

OK, Let me just say, I’ve never been a huge fan of this movie, in general. It has a few good moments, but they seem to be few and far between. For me, the best part of the movie was Claude Rains. That’s not to say Robert Montgomery did a bad job. I just mean that the role, as it was written was a little one-note, and as a result, the character of Joe Pendleton was a little dull to watch on the screen. He basically had two gears. He had the fast-talking mook, and the soft-spoken guy in puppy-love. Those two faces got a little old by the end of the film.

OK, so the guy is a professional boxer. He is always in control of his situation, even when he isn’t. He is almost obnoxious in his arrogance and self-confidence, and that remains a constant through most of the film. Then he turns shy and gentle at the drop of a hat whenever the girl he fancies enters the room. In my book, that means the actor didn’t have to stretch himself. I mean, really, the film is a supernatural rom-com. The problem is that, the way Montgomery played him, he was barely amusing, and only mildly romantic.

But I know he’s a good actor. I’ve seen him in other films that proved it, films like 1937’s Night Must Fall or 1945’s They Were Expendable. Here, his forced New York attitude was just annoying. I couldn’t take him seriously. I mean, maybe I’m missing the point. Was that supposed to be a source of light-hearted comedy in the movie; the fact that he kept forgetting that he was dead or that he kept trying to boss Mr. Jordan and Messenger 7013 around? I’m sorry, but it wasn’t funny.

Still, as I mentioned, he was a different person whenever Bette Logan came within sight. Then, for those brief moments, he was a likeable person because he stopped acting like a big palooka, and became a real person. Now, I realize I’m really oversimplifying his performance. I mean there was actually a third persona he adopted once in a while. And that was the confused guy who couldn’t figure out what was going on. But even those moments were few and far-between. This isn’t my first time watching the movie, and I still don’t get why his performance got so much attention. At best, I’d call it average for the distinguished actor.

Guardians of the Galaxy Vol 2 Character Posters

Guardians of the Galaxy Vol 2 Cast Photos

Guardians of the Galaxy Vol 2

Cast Photos

Character Posters

15 – Guardians of the Galaxy Vol 2

Once again, the MCU hits another home run. But in this particular one, there were a few things I didn’t particularly like. My gripes are minor, but they are there. Anyway, I’ll get to them in a bit. There is so much to praise in this movie. The visual effects were top notch. The new characters were incredible. The continuing character development of returning characters was phenomenal. And strangely enough, the color pallet of the film was stunning, making it visually beautiful. And as with the first Guardians film, the music was so cool!

Of course, Star Lord, Gamora, Drax, and Rocket came back. And even though Groot died during the first film, his progeny, Baby Groot, who was simply too cute for words, joined the team. And then, in addition, Yondu joins up, and the interesting empath, Mantis. And we can’t forget their enemies. Nebula, kind-of, Ego, the living planet, and Ayesha, the Golden High Priestess of the Sovreign people. But then, Ego was really the big bad. Nebula was just trying to beat her sister Gamora in Battle because of unresolved daddy issues, and Ayesha was justifiably upset because Rocket stole her people’s property. They both just wanted a little revenge, and went to extremes to get it. But Ego was an insane Celestial, bent on taking over the universe. So I have to mention Kurt Russell, as Ego. He was so cool! He looked good, he acted the hell out of the part, and he looked like he was having a good time doing it. He’s just a darn good actor.

Just like every MCU film, this movie had a lot of fantastic action. Even the opening scene, where the opening credits were being shown, was an action sequence. It started off fun as Baby Groot dances around, seemingly oblivious to the fierce battle going on behind him. The Guardians are fighting a giant, multicolored-fire-breathing, blob monster with tentacles. Then there’s a space battle with Ayesha’s remote-piloted fleet, a skirmish in the forest as Rocket single-handedly trounces Yondu’s Ravagers, until Yondu stops him with his mentally controlled arrow, another fight between Gamora and Nebula, Yondu and Rocket’s escape from Taserface, and finally, the climactic battle between the Guardians, the Sovereign’s forces, and Ego. There were so many action sequences to love.

But there was also some pretty amazing emotional content to the film as well. The bonding between the daughters of Thanos was touching. Though, that seemed to pale in comparison to Yondu’s death and the Ravager funeral scene. It is such ride. It brings me close to tears every time I see it. I love the way in which they burned his body with rainbow flames, and then the Ravagers put on a beautiful fireworks display in his honor. And while that is happening, the Guardians seem to be drawn closer together as a family.

And it was that neon rainbow color pallet that really stood out to me. From simple fires to grand explosions, the bright pinks, purples, greens, blues, yellows, and oranges are visually captivating. And the gorgeous fantasy design of Ego’s planet was just mesmerizing. The iridescent bubbles, the landscapes that look like fantasy paintings, Ego’s opulent palace. Even the dark and disturbing underground cavern with the bones of his children held a certain amount of innate beauty that cannot be overlooked.

But I can’t forget the things I didn’t like, and there were really only two. First was Drax. He is supposed to be a big bad-ass, but for some reason, they turned him into a laughing buffoon. I don’t mind a funny moment once in a while, but his constant merriment and ridiculously awkward comments felt forced, and as a result, it blunted how dangerous he is supposed to be. The other is Mantis. While I like Pom Klementieff and the character she created, the only thing she shares with her comic book counterpart is her name. I don’t mind the new character. Just don’t call her Mantis. The real Mantis is the Celestial Madonna. This one? Not even close.

Top 10 Favorite Parts

The opening fight with the Abilisk
Rocket defends his ship from the Ravagers
Rocket makes fun of Taserface’s name
Peter, Gamora, and Drax arrive on Ego’s planet and see the diorama that tells his story.
Star Lord bonds with his father, Ego and learns to control the Celestial energy.
Gamora and Nebula’s battle.
Rocket, Baby Groot, and Yondu excape from the Ravager ship. Yondu shows what his arrow can really do.
Rocket explains how the bomb works to Baby Groot
Star Lord and Ego fight, creating constructs of living energy, while the guardians attempt to escape the dangerous planet.
Yondu’s Ravager funeral. So Beautifully done.

1941 – Walter Huston

1941 – Walter Huston

The Devil and Daniel Webster

First off, to address the little elephant in the room, the poster says All that Money Can Buy because they actually changed the name of the movie to avoid confusion with another film that came out around the same time called The Devil and Miss Jones, but the restored the name later.

I actually loved Walter Huston’s performance in this movie. He played none other than the Devil, himself. There was no pitchfork, no fire and brimstone, no horns, though he wore a hat that often gave the appearance of horns. He was the trickster, who was out to swindle honest men out of their souls. What was so wonderful about his performance was that he seemed to play into the mythos of old Scratch. He was friendly and charming. He was quick with a handshake. But there was a maniacal madness lurking just under the surface. There was a dark and calculating sense of single-minded purpose. Nowhere was this more evident than in the barn dance scene. He was playing the fiddle faster and faster, his features growing darker and more demonic as he played.

And then there was his voice, his recognizable voice that has to be a Huston Family trait. I first heard it in his son, John Huston, in the 1977 animated film, The Hobbit, voicing Gandalf. Walter’s voice had that same epic quality, that same gravitas, that same personality. His voice was perfect for the sly Father of Lies. His wide smile was almost clown-like, showing all his teeth in a slightly disturbing way. And yet, it was strangely mischievous and disarming at the same time.

But I hesitantly venture the opinion that maybe he shouldn’t have been nominated for Best Actor. The role of Mr. Scratch wasn’t the lead character of the film. That character was actually James Craig, playing Jabez Stone. He was the story’s protagonist. It was, after all, his soul that was in danger from the supporting character of Mr. Scratch, and it was his story that the plot followed. It’s just that, due in large part to Huston’s great performance, the devil was more interesting to watch. Houston was a scene stealer! He even stole that last scene of the film. Looking for his next victim, he breaks the fourth wall and points at the audience.

1941 – Cary Grant

1941 – Cary Grant

Penny Serenade

This nomination actually surprised me, but not because I don’t think Grant deserved his nomination. He absolutely did. I was surprised that this was his first Best Actor nomination, and his first of only two, at that. He is one of the most well-remembered and beloved movie stars of his time. He was a very good actor, who seemed perfectly at home in front of the camera. Playing the part of Roger Adams, the romantic lead in this drama, allowed him to show just how skilled he was.

Now, I’ll admit, when I think of Cary Grant, I think more of his comedic roles in films like the Philadelphia Story, Bringing Up Baby, Arsenic and Old Lace, and His Gal Friday. But this movie was a romantic drama. There were moments where he needed to be teetering on the edge of tears, and other times when severe depression was called for. Grant handled it all with depth and gravitas. The scene the leaps to mind is the one in which he is pleading with a judge not to take away his adopted daughter because he has no steady income. The sheer desperation he was able to put into his performance was impressive.

And that wasn’t the only scene where he really leaned into the drama. At the end, when his wife is leaving him, he knows that he has really messed up his marriage, and that it is his own fault. Grant was amazing as he tells his wife that he can’t think of a reason for her to stay with him. He showed more than simple depression in that moment. There was fear as well, and that elevated the emotion of the scene to something special.

Alright, yes. There was an amusing scene in which both Grant and his costar Irene Dunne were able to ham it up a bit and make us all laugh a little. The baby’s first night in their home was pretty funny. When Roger thinks the infant is missing and starts to panic, I could tell that Grant was well within his comedic element. But when I think of this movie, it’ll be the dramatic moments that I’ll remember. There was a reason why audiences loved the actor for such a long time, and why he had such a prolific career. And apparently he was more than just a comedic genius. He was as dramatic as you could want when he needed to be.

1941 – Margaret Wycherly

1941- – Margaret Wycherly

Sergeant York

OK, so I know I’ve been less than positive about the other two acting nominations for Sergeant York. I’m not convinced that Gary Cooper or Walter Brennan should have been nominated. But I believe this nomination for Best Supporting Actress was deserved. The character of Mother York had an emotional range, had depth, and as a result, was interesting to watch. From her first appearance on the screen, she did more to establish the general feel in the rural Tennessee community where the story took place than any other character. From her, we learn that the people were stoic, strong, gentle, and religious.

Wycherly was able to show all those things in the way she moved and the way she spoke. She moved slowly and deliberately. She never raised her voice. She saw sad about her son’s disruptive behavior, and though she never shed a tear, you could see that they were being held back by strength of will. She showed obvious love for her errant son, Alvin, but also didn’t make any excuses for his drunken tirades. She even tried to defend him before asking the local preacher to have words with him. That scene alone was enough to catch my attention.

But then, later on in the movie, her love for her son grows even deeper as she sees him turn his life around. Her prayers for him to achieve his goal of buying the fertile bottomland he is after were heartfelt and passionate. Wycherly really stood out in that scene. And it didn’t hurt that she really looked the part. She wasn’t pretty or glamorous. She was just a mother who cared deeply for the welfare of her son, who was working so hard to improve his life.

And then, of course, there were the two scenes of parting and reuniting. When Alvin left her to go to war, and her daughter asks “Maw, what are they a-fightn’ fer?” her response of, “I don’t rightly know child. I don’t rightly know.” was perfectly delivered, as she knew that she might never see her son again. And when he returns, the look of unvarnished relief and joy was brief, only taking a few seconds, but wonderfully portrayed. Wycherly really did a fine job in her performance and I’m glad she was nominated for an Oscar.

1941 – Walter Brennan

1941 – Walter Brennan

Sergeant York

Here we are once again with Walter Brennan. This is his fourth Best Supporting Actor nomination in the last six years. This guy was on a roll and it was clear that the Academy loved him. But I have to say, this wasn’t my favorite character for him. There just wasn’t much to him. He played a sweet, kindly old man, and that was about it. There was no real drama, not much depth. It’s almost like the Academy voters nominated him just because it was him.

So he played the part of Pastor Rosier Pile. One might say that he was the emotional catalyst of the film. It was his teachings that led the errant York to become a fervent Christian, and eventually the hero of World War One. He was simple country Pastor, who was kind, wise, and passionate. Unfortunately, he was written as a one-dimensional, flawless, saint of a character. And to my mind, that means that the actor had very little room to show off any of the great acting skills that he was known for. Brennan was capable of far more than the role demanded.

That isn’t to say he did a poor job. I just don’t think the role itself was worthy of an acting nomination. I much preferred his work in The Westerner or Kentucky. In those films, he had dimension and depth. So then I have to ask myself, what scenes in Sergeant York allowed Brennan to do some of his acting skills? There are three that immediately come to mind.

First, when York’s mother comes to the General Store for supplies. Pastor Pile gently consoles her for having a rowdy son, and agrees to have a talk with him. But that scene was more about Mother York, not the Pastor. The second is when he talks to Alvin, telling him that religion might come a-calling like a bolt of lightnin’, when ye ain’t even expectin’ it. He was good there. And the third is when Alvin actually comes to the church. He and the congregation are singing Give Me That Old Time Religion. Suddenly he turns into a fervent Pentecostal Evangelist, getting Alvin on his knees before God.

But that was about it, unless you consider the short sequence in which he tries to get Alvin out of the draft as a conscientious objector. But that was more about Alvin than him. I guess my point is that Brennan was worthy of the nomination. The role of Pastor Pile wasn’t.