Oscar Loves Two Women. In The Same Film. Often.

Amir here. Since the Oscar nominations were announced on tuesday we’ve all heard tons of new stats about this year's slate. All the ‘oldest’ and ‘youngest’ and ‘most’s aside, the one thing that caught my eye was the double nomination for Best Supporting Actress for The Help’s ladies Jessica Chastain & Octavia Spencer. This is now the fourth consecutive year that the category has included two nominees from the same film. For the trivia lovers among you, this equals the previous longest streak of double supporting actress nominations from 1947 through 1950: Gentleman’s Agreement, I Remember Mama, Come to the Stable, Pinky and All About Eve... (though the earlier run is more impressive since 1949 had two sets of double nominees.)

Trivia: The two longest double supporting runs (though 47-50 actually had a year with two double noms."Pinky" is not pictured by accident. Apologies). In both one actress appeared multiple times (Amy Adams and Celeste Holm) and one of those times she played a nun!!!

Last year’s winner, The Fighter’s Melissa Leo, was accompanied by her co-star Amy Adams, who had been nominated along with Viola Davis for Doubt two years earlier. When Adams was taking time off inbetween, Vera Farmiga and Anna Kendrick filled in for her for their performances in Up in the Air. Had it not been for 2007's spread of wealth, the record could have been extended another two years since Rinko Kikuchi and Adriana Barraza were both nominated for Babel the year before.

If you look back through the history of the shiny gold man you'll find that in the 76 years since the Supporting categories were introduced 28 films have managed two supporting actress nominations. That’s an astonishing number but here’s what's more interesting. (Continued... with Pie Charts!)

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Happy 102nd Luise Rainer! Celebrate The Oldest Living Oscar Nominees!

2020 NOTE - Louise Rainer lived to be 104!!! Here's the updated list of list of Oldest Living Oscar Nominees or Winners

The double Oscar winner (The Great Ziegfeld and The Good Earth) turns 102 today!  She's the oldest living Oscar nominee or winner! Her most recent appearance was just four short months ago when she showed up for her star ceremony in Berlin. They now have a "Boulevard des Stars" much like Hollywood's walk of fame and as the only German Best Actress winner (Hollywood and the media who nicknamed her "The Viennese Teardrop" promoted her as Austrian for obvious reasons in the 1930s), she was a natural for inclusion.

happy birthday to you
happy birthday dear Luise,
happy birthday to you
.......and many more ♫

Odets and Rainer in Hollywood. Odets also romanced actress Frances Farmer (as seen in the Jessica Lange picture "Frances")Luise is on record as saying that she doesn't believe in the Oscar curse and her short-lived Hollywood career was her own doing.

"The Oscar jinx! There is no Oscar jinx. I couldn't carry the burden of being the middle of the universe. I had to withdraw and find myself".

My favorite anecdote about Luise is that her husband during those heady Oscar years activist / screenwriter / playwright Clifford Odets (Luise was not his only actress romance) was so furious with her for flirting with Albert Einstein at a party that he took a photo of Einstein and chopped off Einstein's head with a pair of scissors. Hee! But also: flirting with Albert Einstein at a party???. What storied lives those Golden Age movie stars lived. You can read a lot more about Luise's life at this comprehensive unofficial fan site. 

My friend Nick is also discussing Luise's odd legacy and one of her lesser known films today on this historic occassion. As per usual he puts her efforts in brilliant context.

Oscar Horrors: A Two Faced Oscar Win

Oscar Horrors Continues

Here lies... Fredric March’s charming Dr Jekyll face, devoured by the monstrosity that is Mr. Hyde. Though his Hyde face didn’t manage to scare all the other nominees away – March tied for the Best Actor award that year, and in a field of only three nominees – when you stop to think about it, his win was still quite a feat. 

Hollywood’s idea of what constitutes a good performance has changed over the years so it’s almost inconceivable for a performance of such exaggerated expressionism in a horror film to stand a chance of winning today. (Although, give this to Robert and I’m sure he’ll prove me wrong by drawing parallels between March and Natalie Portman’s Nina.) Oscar-y or not, however, the performance is a marvel; perhaps the only thing that remains so fresh about the film 80 years on.

Dr. Jekyll and Mr. Hyde (1931) is a horror film, but to the desensitized eyes of my generation – for whom horror means gore and brutality and 12 people sewn together ass-to-mouth – it plays more like a campy horror comedy. What keeps the film grounded (and serious-minded) is its sensitively realized performances, particularly that of March, who gets every note right.

The Jekyll to Hyde transition, with no CGI!

As Jekyll, March is handsome and charismatic; as Hyde he’s hideous and violent. The two characters are purposely the opposite sides of the coin. They share nothing in common and March plays both of them really well, but the real reason the performance is so great is the way he connects the two. It’s key to the narrative, as it is in the original book, to imply that these two wildly different characters can exist within the same person. As Dr. Jekyll announces in the opening:

My analysis of the human psyche leads me to believe that man is not truly one, but truly two ...the good self... and the bad self.

March manages to capture that in his performance. As Hyde, he shows an aggression that can be reflected in his self-distrust as Jekyll. All of Hyde’s uncontrollable cruelty can be traced back in Jekyll’s internal conflict. And the duality can be seen in his eyes the whole time.

Hyde with his favoured prostitute. Sexuality is a major element in this pre-Code film.

Rumour has it, when the 1941 remake was released and universally panned, Spencer Tracy, who played the leading role, received a telegram from March. In it, March apparently thanked him for the biggest boost of his career. Tracy’s portrayal paled in comparison. I haven’t seen the remake, but I wouldn’t be surprised if I agree with the consensus. March’s performance is one for the ages.

Other Oscar ACTING Horrors...
Rosemary's Baby - Best Supporting Actress
Whatever Happened to Baby Jane -Best Actress in a Leading Role
The Exorcist -Best Actress in a Supporting Role 
Carrie - Best Actress in a Leading Role

"A Star is Born"... or, will be *after* the Star's baby is born.

Beyoncé announced her pregnancy at MTV's VMAs last night. I switched channels after Gaga's drag king opening number so the news got to me secondhand.

There be film fallout. The fourth feature film version of A Star is Born (2013? 2014?) is now delayed for at least nine months as Beyoncé gestates and welcomes her first child into the world. The musical, meant to be Clint Eastwood's post J Edgar project, had hoped to go before the cameras early in 2012 and with the speed that Eastwood tends to work we would have probably seen it as a Christmas 2012 release.

But now that Beyoncé is pregnant (and considering also that Leonardo DiCaprio has turned down the male lead role), this won't be happening just yet. The Beyoncé/Jay-Z babe will be born first.

Oscar-obsessives should keep a close eye on this one -- the film, not the babe. While the project seems ridiculous on the surface for both "another one?" superfluity and Eastwood + Beyoncé odd-coupledom, A Star is Born is a durable cultural object. It's always a major morphing showcase for the gifts of its leading lady. The first three incarnations resulted in 17 Oscar nominations and 3 Oscars all told including bids for Best Actress for both Janet Gaynor (1937) and Judy Garland (1954) and a Best Original Song Oscar for Barbra Streisand's "Evergreen" (1976).

Will we see Beyoncé as a Best Actress nominee in 2013 or 2014... or will she have to "settle" for a Best Song Oscar?

Unsung Heroes: The Archer of 'Robin Hood'

Michael C. from Serious Film here. As a rule, I don't indulge in nostalgic, "They don't make 'em like they used to" wallowing. I don't see the point. There was quality then and there is quality now. That having been said, it doesn't mean I can't geek out over one of the shining examples of classic Hollywood, which I will now do.

Watching The Adventures of Robin Hood (1938) directed by Michael Curtiz and William Keighley it is hard not to feel a twinge of longing for the studio system, Hayes Code and all. It was firing on all cylinders with this production and, man, is it glorious to behold. Everything is bold and colorful and exciting. It can go toe-to-toe with Singin’ in the Rain for pure joy of filmmaking on display. 

As a nine-year-old viewer it was enough to inspire lifelong devotion. More than anything I think I responded to the reality of the film. Not realism, of course. This is a Movie-Movie if ever there was one. I mean the tactile reality of the things physically happening on the set. This is what we are losing with CGI. When something isn't faked it reaches a viewer (especially a young one) in a powerful way. In this movie we have Errol Flynn’s athleticism - swinging on vines and scaling walls - the impossibly cool sword fighting. And the arrows. Above all the arrows.

Howard Hill (archer) with Errol Flynn (movie star)

No movie does archery like The Adventures of Robin Hood. Which brings us to the hero of this episode, one Mr. Howard Hill, archer. If the arrows here have an impact lacking in other movies there is a good reason for that. Howard Hill was actually shooting people with real arrows.

I’ll say that again.

For a bonus $150 stunt men would throw on a steel plate and some padding and Hill would shoot them with real arrows fired at actual lethal speed. They could get away with this because Hill simply never missed. Seriously, he has to be seen to be believed. You can look for yourself on the DVD extra features where he is shown in archival footage splitting twine from fifty paces. He even worked with the sound team shooting his own specially designed arrows past microphones to create that instantly recognizable high-pitched “whoosh” sound that arrows make in this movie and no other.

Now, if I had to decide whether it’s right for stuntmen to risk getting shot with arrows by anyone, no matter how skilled, I would have to be a killjoy and say no. But since the arrows in question all flew over 70 years ago, I feel at liberty to point out that this method is really, really cool. Not only does it come across brilliantly on camera, but it spares us all the tricks the director would have needed to get around fake arrows - the kind of minor slight of hand that viewers let slide but nevertheless take us out of the movie a tiny bit each time.

Legend has it Hill personally performed the unforgettable stunt of splitting the arrow in one take. I saw an episode of Mythbusters where they declared this an impossible feat for a variety of reasons. Call me naïve and protective of my favorite childhood movie but I’m not convinced. I would prefer Mythbusters amending their verdict to “Busted for anyone who is not Howard Hill.” 

previously on Unsung Heroes: Glengarry Glen Ross, Zodiac, Oldboy, The Iron Giant, Hedwig and the Angry Inch...