Helen Hayes' Oscar-winning turn in THE SIN OF MADELON CLAUDET is the quintessential Pre-Code Best Actress vehicle, detailing the story of a "fallen woman" with a kind of candor that would be forbidden by July, 1934.
Last time in this alternative Oscar history, we looked at the first three seasons of the Academy Awards through my dream Best Actress quintets. They coincided with the last few years when American silent cinema was still produced stateside by the big studios in town.
The rise of the talkies meant a lot of things for the industry, drastic, often destructive changes that have been fictionalized in such Hollywood self-reflections as Singin’ in the Rain and Babylon. In terms of pure cinematic form, this transition imposed limitations aplenty, generally making movies more static, more awkward and less visually expressive. Not all of them, but a concerning number. In terms of acting technique, the advent of synchronized sound recording ignited a change of the guard that left many a former star in the past and brought thespians of the New York stage to the Hollywood soundstage and Silver Screen immortality – the ones starring in movies that haven’t been lost, of course.
It was also the start of a short period we retroactively call Pre-Code Hollywood. Let’s consider my Best Actress ballot in those years…
Ruan Lingyu feels shockingly modern and naturalistic in THE GODDESS.
But before we get to those personal lineups, let me yap some more about the period itself, its specificities. Unlike what some might think, the change from silent to talkies didn’t necessarily mean a growing naturalism in screen acting. The cinema of the late silent period was incredibly sophisticated and varied, with some performers honing in on a realist sort of behavioral characterization that has more in common with modern movies than the flicks of Hollywood’s so-called Golden Age. Even early in silent filmmaking, there were those that wanted to capture the real, lest we forget Alice Guy-Blaché's motto - "Be Natural."
In fact, since other national industries worldwide stayed with silent films longer than the USA, we can see how that type of filmmaking could be conducive to a greater alignment between the projected image and off-screen reality. For example, in his The Story of Film, Mark Cousins compared the work of Chinese actress Ruan Lingyu in The Goddess to what would come out of the Actors Studio and revolutionize acting styles in American theater and then cinema during the postwar years. She worked in silent pictures until her suicide in 1935, and it feels more appropriate to discuss her work alongside someone like Kim Stanley than the new movie stars coming out of Broadway at the same time when Ruan was making her Shanghai melodramas.
Think Helen Hayes or Ruth Chatterton, formidable performers whose stylization is far from mimetic or unmannered. You’d never confuse their early screen work for an actual approximation of how people live their lives when the camera’s not looking. Still, they had merit - personally, I love artifice. Hayes even won an Oscar for her turn in The Sin of Madelon Claudet. And speaking of that “fallen woman” tragedy, the Code would soon make such flicks verboten. Technically, the Hays Code was first devised in the 20s and putatively adopted at the start of the 30s. But it wasn't until July 1st 1934 that it got mandatorily enforced, making self-censorship law as far as Hollywood was concerned. The libertinage of the movies made between the time when sound allowed for more complex, often more socially transgressive texts and that fateful day became a relic beloved by many an Old Hollywood aficionado.
Just like sync sound, the Code put an end to careers and forced others to adapt or die – it muzzled Mae West, de-sexed Lubitsch’s sex comedies and made stars like Jean Harlow feel obsolete, among other such tragedies. So, it feels like a nice and appropriate point to close off this portion of my Best Actress-focused Alternative Oscar History project. And here we go with my dream ballots from 1930 to 1934. You can check back on the first post in the series to see what I mean by Honorable Mentions, Ineligible, On the Watchlist, and other matters. As ever, I’d love for you to share your own choices and recommend more actressexual delights. Sound off in the comments, even if it’s to complain about my bad taste.
;)
1930/31
Claudette Colbert, HONOR AMONG LOVERS
Marlene Dietrich, DISHONORED
Marie Dressler, MIN AND BILL *winner*
Barbara Stanwyck, THE MIRACLE WOMAN
Helen Twelvetrees, HER MAN
Honorable Mentions: Mary Astor in HOLIDAY, Ruth Chatterton in ANYBODY’S WOMAN, Joan Crawford in PAID, Barbara Stanwyck in ILLICIT and TEN CENTS A DANCE.
Ineligible: Marlene Dietrich in THE BLUE ANGEL, Janie Marèse in LA CHIENNE.
On the Watchlist: Mary Astor in BEHIND OFFICE DOORS, Ina Claire and Henrietta Crosman in THE ROYAL FAMILY OF BROADWAY, Bebe Daniels in THE MALTESE FALCON, Gloria Swanson in INDISCREET, Lupe Vélez in THE STORM.
;)
1931/32
Joan Crawford, GRAND HOTEL *winner*
Marlene Dietrich, SHANGHAI EXPRESS
Miriam Hopkins, DR. JEKYLL AND MR. HYDE
Dorothy Mackaill, SAFE IN HELL
Sylvia Sidney, MERRILY WE GO TO HELL
Honorable Mentions: Constance Bennett in WHAT PRICE HOLLYWOOD?, Beulah Bondi and Sylvia Sidney in STREET SCENE, Jean Harlow in RED-HEADED WOMAN, Jeanette MacDonald and Genevieve Tobin in ONE HOUR WITH YOU, Barbara Stanwyck in FORBIDDEN.
Ineligible: Joan Blondell and Barbara Stanwyck in NIGHT NURSE, Marcelle Hainia and Sévérine Lerczinska in BOUDU SAVED FROM DROWNING.
On the Watchlist: Joan Blondell in BLONDE CRAZY, Joan Crawford in LETTY LYNTON, Frances Dee and Sylvia Sidney in AN AMERICAN TRAGEDY, Marian Marsh in BEAUTY AND THE BOSS, Gloria Swanson in TONIGHT OR NEVER.
;)
1932/33
Marion Davies, BLONDIE OF THE FOLLIES
Marlene Dietrich, BLONDE VENUS *winner*
Kay Francis, TROUBLE IN PARADISE
Katharine Hepburn, LITTLE WOMEN
Barbara Stanwyck, BABY FACE
Honorable Mentions: Mary Astor and Jean Harlow in RED DUST, Ruth Chatterton in FRISCO JENNY, Miriam Hopkins in DESIGN FOR LIVING and THE STORY OF TEMPLE DRAKE, Barbara Stanwyck in THE BITTER TEA OF GENERAL YEN.
Ineligible: Olga Chekhova, Magda Schneider and Luise Ullrich in LIEBELEI, Sumiko Mizukubo and Kinuyo Tanaka in DRAGNET GIRL.
On the Watchlist: Joan Blondell, Bette Davis and Ann Dvorak in THREE ON A MATCH, Virginia Bruce and Lupe Vélez in KONGO, Irene Dunne in BACK STREET, Aline MacMahon and Loretta Young in HEROES FOR SALE, Barbara Stanwyck in LADIES THEY TALK ABOUT.
;)
1934
Louise Beavers, IMITATION OF LIFE
Claudette Colbert, IT HAPPENED ONE NIGHT *winner*
Greta Garbo, QUEEN CHRISTINA
Myrna Loy, THE THIN MAN
Aline MacMahon, HEAT LIGHTNING
Honorable Mentions: Claudette Colbert and Fredi Washington in IMITATION OF LIFE, Marlene Dietrich and Louise Dresser in THE SCARLET EMPRESS, Carole Lombard in TWENTIETH CENTURY, Maureen O’Sullivan and Norma Shearer in THE BARRETTS OF WIMPOLE STREET, Lulu Wong in ESKIMO.
Ineligible: Isa Miranda in EVERYBODY’S WOMAN, Ruan Lingyu in THE GODDESS, Evelyn Venable in DEATH TAKES A HOLIDAY.
On the Watchlist: Claudette Colbert in CLEOPATRA, Dolores del Río in MADAME DU BARRY, Myrna Loy in MANHATTAN MELODRAMA, Margaret Sullavan in LITTLE MAN, WHAT NOW?, Anna May Wong in LIMEHOUSE BLUES.
Next up, we’ll cover the rest of the 1930s, as the Great Depression ended, war loomed on the horizon, and new subgenres became Hollywood standards for a while. Yes, the heyday of the screwball is upon us. Also, three-strip Technicolor! Get ready to finally see some of these actresses in all the shades the celluloid rainbow had to offer.