Esther Williams @ 100: Neptune's Daughter

by Camila Henriques

As we continue with our celebration of Esther Williams's centennial, we're thrown into the story of "a girl, a guy and a swimsuit". All in all, that's an accurate summary of Neptune's Daughter, the 1949 film directed by Edward Buzell that paired the star with one of her frequent onscreen partners Ricardo Montalbán. Like other Williams efforts, the picture relies on her screen charisma to succeed, and, when it does it's pure magic.

It's a funny coincidence that her centennial comes as we're invaded by the Olympic spirit. Williams herself was never able to compete in the games. Her big shot came the year they were cancelled due to World War II, in 1940...

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Smackdown '46: Duel in the Sun with the King of Siam

Welcome back to the Supporting Actress Smackdown. Each month we pick an Oscar vintage to explore through the lens of actressing at the edges. This episode goes back to the 19th Academy Awards honoring 1946. It isn't a particularly beloved Oscar vintage though the Best Picture winner, The Best Years of Our Lives, is sublime. Apart from the winner and the Christmas film It's a Wonderful Life, the Academy all but ignored the most enduring pictures of that post-war year (Notorious, Gilda, The Postman Always Rings Twice). But we're here to discuss Best Supporting Actress and these five women were having a moment...

THE NOMINEES For the 1946 Oscars the Academy invited back two previous winners (Gale Sondergaard & Ethel Barrymore), tossed a bouquet in the form of 'career' nomination to a legend (Lillian Gish), honored a character actress for stretching (Flora Robson) without realizing how poorly that kind of stretch would age, and invited a new starlet (Anne Baxter) into the club. That's a typical mix in some ways though the films were a fun mix of genres rather than five straightforward dramas. We've got a culture clash historical epic (Anna and the King of Siam), a thriller (The Spiral Staircase), a camp western (Duel in the Sun), a post-war spiritual journey (The Razor's Edge), and a restless genre-hopping whatsit (Saratoga Trunk).

THE PANELISTS Here to talk about the performances and films are (alpha order from left to right), playwright Peter Duchan, film critic Guy Lodge, Statueseque's Allen Nguyen, and Actor Tory Devon Smith. And, as ever, your host Nathaniel R. Let's begin...

 SUPPORTING ACTRESS SMACKDOWN + PODCAST  
The companion podcast can be downloaded at the bottom of this article or by visiting the iTunes page...  

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The Best Costumes of 1946

by Cláudio Alves

Before we head into the nitty-gritty of the Best Supporting Actress Smackdown of 1946 tomorrow, it's time to look at some pretty clothes and lose our minds in a hurricane of 'what ifs.' By the end of that decade, the Academy had implemented two Best Costume Design categories – black-and-white and color – but those awards were only introduced in 1948 for the 21st Academy Awards. Before that, costume designers had no way of winning Oscars. If you're an awards obsessive who loves the art of costuming, it's easy to wonder what would have happened if the category were introduced at the beginning. What would have been nominated in 1946? Who would have won? Here are my tentative answers to these complicated questions…

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Best Supporting Actress 1946: Getting to know the nominees

by Cláudio Alves

The Supporting Actress Smackdown of 1946 is fast approaching, and with it comes one of the most head-scratching lineups in the category's history. To call this bunch of films, performances, and legacies problematic is to undersell just how much racial insensitivity plays into this particular Oscar race. Still, what complicates matters further is that the nominated actresses are all artists with considerable talent, superlative careers – most of whom started on stage – and undeniable historical importance. Unpacking all this mess is too great a task, but I'll try to introduce you, dear readers, to this impressive quintet of Old Hollywood thespians...

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The heartbreaking beauty of "Brief Encounter"

by Cláudio Alves

Ever since I listened to Robert Altman's commentary track on the Gosford Park DVD, I've bristled at the idea that someone needs to be a certain age to enjoy a film. In that bonus feature, Altman mentions that Gosford Park has nothing to offer to fourteen-year-old boys, and they shouldn't get to watch it. As a fourteen-year-old boy for whom Gosford Park was a favorite, I felt personally attacked. A bit more than a decade later, I've grown less annoyed at such blanket statements about age and movie appreciation. As it turns out, there are films that can gain something when the audience seeing them is more mature. You may be asking yourself, what does this have to do with Brief Encounter or our 1946 celebration? Apologies for my long-windedness.

I'm trying to introduce a personal realization I had. While I might have loved Brief Encounter when I was a teen, I knew not of its power. Now, I think it's one of the best and most devastating films ever made…

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