The First Televised Oscar Ceremony!

For today's daily nooner leadup to the Supporting Actress Smackdown of 1952 -- and to get us all pumped up for the burst of Fall Film Oscar Madness,  I thought we'd look at the Oscar ceremony itself and some really fun trivia. Ready?

Shirley Booth in NYC accepts her Oscar while the LA crowd looks on

• Did you know that the 1952 Oscars (held in March 1953) were the first televised Oscar ceremony ever? Now you do!  They were also bi-coastal (!!!) with Bob Hope entertaining in LA and the great Fredric March working the crowd in New York. 

• Shirley Booth, who won for Come Back Little Sheba, fell on the steps to the stage! You can watch it here. Jennifer Lawrence didn't invent that little attention grabbing Best Actress move this past February! MORE AFTER THE JUMP

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StinkyLulu's Preliminary Thoughts on Supporting Actressing in '52

We are pleased to welcome StinkyLulu back to Smackdowning. Give him a warm welcome in the comments! - Editor

It has been a while since I dropped into a random year’s field of Supporting Actress nominees. Still, as I have re/screened the relevant films in preparation for Saturday afternoon's Supporting Actress Smackdown, it’s startling how familiar the 1952 roster feels. Remember that “Best Supporting Actress” was only in its 15th year or so (having been introduced in 1936, almost ten years after the Oscar game got started) but, already by 1952, the category seemed to have established some of its most enduring quirks.

1952’s nominated roles are definitely cut from Oscar’s favorite cloth: the hooker with a heart; the hale helpmeet; the full force of youth; the long (briefly) suffering wife; and the shrewish “ex.”

Oscar loves a type - you see these types still!

The field we'll be discussing Saturday definitely reminds us that, by the early 1950s, Supporting Actress had emerged as one of Oscar’s favored ways to anoint the newcomer/s with one hand, while taking care to honor the time-tested trouper/s with the other. As example, 1952's nominations honor not only breakout performances by “new stars” Jean Hagen and Terry Moore (not to mention the screen debut of Colette Marchand) but also familiar work by previously favored nominees Gloria Grahame and Thelma Ritter. And, yes, Oscar’s habit of nodding to certain troupers also stirs the faint whiff that a Supporting Actress nomination might sometimes be an apology bouquet of sorts — Oscar’s way to say “please forgive my neglecting to nominate (or award) that other performance…but do accept this as a token of the Academy’s esteem.” (Might Grace Kelly’s 1953 nomination for Mogambo and Katy Jurado’s 1954 nomination for Broken Lance been made possible, at least in part, by Oscar’s neglect of their High Noon turns this very year?)

And in a field full of what I have called “coasters” (efficient supporting actressness buoyed by being part of a heavily nominated film), Jean Hagen’s nomination looms especially large as that “single nominated performance from an ignored-in-other-major-categories picture”. That's a particularly burdensome last bit of support not infrequently borne by Supporting Actress nominees.

Katy Jurado (High Noon) and Ethel Waters (Member of the Wedding). Who would you call snubbed from '52's Supporting Actressing?

All told, 1952 stands as nearly exemplary of the idiosyncrasies of the Best Supporting Actress category, and is thus perhaps the ideal one to revive the peculiar pleasures of the Supporting Actress Smackdown. And while I might wonder what this roster might have felt like if, say, High Noon’s Katy Jurado or Member of the Wedding’s Ethel Waters (or even Viva Zapata’s Mildred Dunnock) had “coastered” into the field, the Smackdown challenges us to look closely at the work of the women who were nominated, for it is in such “actressing at the edges” that the category’s true pleasures shine.

See you on Saturday!

Visual Index ~ The Bad and the Beautiful

In Hit Me With Your Best Shot, an open source series if you will, movie-lovers are asked to select their choice for the pre-selected movie's finest visual moment. Movies are both communal and private experiences so its rewarding to look at them through multiple sets of eyes. This week's film is Vincente Minnelli's Hollywood-on-Hollywood drama The Bad and the Beautiful (1952) which holds the odd distinction of winning the most Oscars ever (5) without a corresponding nomination in the Best Picture category. (The Academy was weird about the Movies About Movies genre that year since they practically ignored the all time classic Singin' in the Rain) The most deserved of TBATB's historic five Oscars was surely for its stunning black & white cinematography by Robert Surtees, an enduring presence in Oscar's roll call from the mid 40s through the late 70s.

I think you'll really like these nine pieces on the movie (on seven different shots)... even if you haven't seen it! Click on any of these "Best Shots" to read why it was selected by these movie lovers.

Antagony & EcstasyWe Recycle Movies

Minnesota Gneiss - FIRST TIME BEST SHOT'ER !

I Want to Believe

Film ActuallyThe Film ExperienceAllison Tooey

Dancin' Dan

The Film's The Thing

NEXT WEDNESDAY NIGHT AUGUST 27th
Butch Cassidy and the Sundance Kid (1969) available on Netflix Instant Watch, so please consider joining us. All you need is a pair of eyeballs, movie love, screen capture capability, and a web place to post your choice for the chosen film's very best image.

Should There Be An Oscar For Best Casting?

Yesterday I thought about casting director Juliet Taylor probably more than anyone on the planet who isn't Juliet Taylor. When her name came up on the screen in Woody Allen's trademark font during Blue Jasmine I smiled -- I love that font and those familiar names so much. I recalled that she'd narrowly missed our top ten for "Women Who Deserve an Honorary Oscar", winning the most votes for anyone not in the writing/directing/acting/producing fields. Her resume is astounding featuring the massive Woody Allen filmography and non Woody films as famous as The Exorcist, Taxi Driver, Terms of Endearment, The Stepford Wives and Interview with the Vampire (so you can probably thank her for Kirsten Dunst). We made that list in the hopes that someone with pull in the Academy would read it and think 'huh. These are great ideas to course correct!'

Woody Allen's infamous reputation as a silent director of actors extends into casting where his auditions are notoriously short... sometimes just a meet and greet is all you get. So you know Juliet Taylor works long hours before and after Woody says "yea" or "nay". So there I was thinking about her, wondering about how many decisions she's making on her own when the Academy announced that they were adding another new branch to their ranks, Casting Directors. People are already speculating about whether this means a Best Casting Oscar will be added to the annual horse race for gold.

poll by twiigs.com

My heart and mind war on this topic all the time. My heart knows that casting directors are crucial to a film's success and would warm to them being recognized -- it's obviously the single most important element of filmmaking that doesn't have a category. My mind, on the other hand, isn't sure this is a good idea. My mind knows that people would win the Oscars for the wrong reasons... even wronger [sic] reasons than people win other Oscars for in other categories! I'd argue that casting directors would win for which Movie Stars and Films were favored in any given year rather than their hard work filling the screen with less glitzy faces. I don't work in the film industry but I'd argue that Directors, Agents, Movie Stars, and Lawyers and Studio Heads signing off on budgets are the ones who decide which Movie Star is paired with which project -- especially since movie stars are often in place before the casting director is -- and that the casting director's brilliance is filling out the names in the below the title list, predicting the intangibles of chemistry and guiding the director to the right decisions about who goes best with whom. It's world building actually... the world of faces.

Rich DeliaI imagine Best Casting would nearly always line up with Best Ensemble at SAG and come to mean "Starriest Cast That Is Also Our Vote For Best Picture" which is quite reductive. Do you imagine the same?

If you had to vote on Best Casting for 2013 right now, what would you pick? Without contest I'd name Short Term 12 the winner for 2013 (thus far) which mixes the awesome Brie Larson with Tony winner John Gallagher Jr (currently on The Newsroom on HBO) and a large supporting cast of wonderful unknown child and teenage actors. So congratulations to  Rich Delia for winning my non-existent prize for this year! He only recently graduated to lead Casting Director (He also did Dallas Buyers Club this year) but he's been very busy for the past few years as a Casting Associate on dozens of movies including The Help and August: Osage County.

Number Crunching & The Crowded Oscar Pundit-Sphere

Nate Silver Sometimes, often even, I curse the heavens that I wasn't better at the business side of things when I started on my course as an Oscar pundit. I was one of the first handful to arrive and being 'first' (or among them) is helpful as any business major will tell you. The fabulous life I was meant to lead *sniffle*. But each year the small pond of Oscar prognostication grows ever more crowded with big fish. This is not to say that when Salon reached out to me to discuss famous statistician Nate Silver becoming an Oscar pundit I was all [rough translation] "grumble. grumble. sour grapes"-- so I hope my quote doesn't read that way! In fact I really respect the size of Silver's career (since he didn't scream natural TV presence at all when he first emerged and I myself am terrified on camera so points for perserverance!) Plus, as a matter of basic pride, I love it when out gay men who don't easily fit any particular mold make it big. But the truth of the matter is that long before Silver became the go-to statistician for everything, statistics have been my least favorite aspects of Oscar punditry.

Many people have tried pure numbers-driven predictions and obsessive formulas in the past. Those works to a degree (especially with eventual winners) but one area they're terrible at is "there's a first time for everything" excitement and, surely, navigating the ever changing rule book. Predict the temper of the race especially in the lead-up to nominations is the fun movie-loving part and it doesn't have much to do with numbers. In my mind you can separate true Movie-Lovers from mere Oscar-Watchers merely by observing whether they care more about nominations than wins. Even people in your office pool can predict the winner as well as professionals do because they become obvious a month or two out in the headline categories (the only categories professional pundits get asked about anyway).  

But now that I've been forced to think aloud about the crowded punditry game -- with someone famous like Nate Silver in the mix I'll never get back on CNN, damnit! -- you should think along with me. Do you think there are too many of us? Who do you listen to in all the noise? What value do numbers hold over narrative?