Directed by Victor Fleming
Screenplay by John Mahin, based upon the play of the same name by Wilson Collison
Starring Clark Gable, Jean Harlowe, Mary Astor, Gene Raymond, and Tully Marshall
Here’s a question: when you think of Clark Gable, what’s your flavor? With, or without, mustache? In my world I can only picture Gable with a mustache, largely because I most closely associate him with Gone With The Wind, where his mustache was so front and center it was basically the defining characteristic of Rhett Butler. And while Gable didn’t win an Oscar for that role, it is his signature role, so if the mustache defines the role, so it defines him.
Which means it might come as a surprise to realize he wasn’t completely tied to the mustache. History says he originally hated the facial hair as a sign of uncleanliness, but when it became part of his star, he then hated shaving it. Now and then, though, you’d catch him on screen with a bare upper lip. They were rare, but happened. Most notably he went without in Mutiny on the Bounty – a fantastic film – and also in his supporting turn in A Free Soul. Relevant to this entry? He doesn’t have a mustache in Red Dust.
Let’s dig in. Continue reading
Directed by Orson Welles
Screenplay by (No Credited Screenwriter) based upon the play by William Shakespeare
Starring Orson Welles, Jeanette Nolan, and Dan O’Herlihy
I don’t know why I bother with Shakespeare anymore. Yes, I know he’s one of those great writers we have to learn about – or supposedly-great. So, there’s that. Then, for a moviegoer there’s all these adaptations of his works, which means you inevitably have to contend with him in some way as more than just a dusty book on a shelf. I don’t want to bother, yet there’s often no way around it.
The truth is, I mostly find Shakespeare impenetrable. People can rave over the poetry of the plays and all that junk, but for me, the poetry and other junk keep me out. This was a fact I noted in my The Also-Ran’s Project entry about Henry V, and rather than beat that horse to death here, I’ll quote myself: Continue reading
Directed by Russel Rouse
Written by Russel Rouse and Frank D. Gilroy, based on Gilroy’s teleplay, “The Last Notch”
Starring Glenn Ford, Jeanne Crain, Broderick Crawford
Broderick Crawford winning Best Actor for All The King’s Men (1949) is probably one of the stranger choices to win an acting Oscar. Not strange in the sense he was an actor of limited range,because many Oscar winners have limited range. Which is a less-backhanded way of saying that winning an Oscar is not usually proof of an actor’s quality. If anything, winning an Oscar is merely ratification of the zeitgeist in the moment, and is also why the Oscars are essentially meaningless and good acting cannot truly be appreciated in the moment. Continue reading
Directed by Delmer Daves
Screenplay by Wendell Mayes and Halsted Wells, from the novelette of the same name by Dorothy M. Johnson
Starring Gary Cooper, Ben Piazza, Karl Malden, Maria Schell, and George C. Scott
Gary Cooper was a movie star of the highest order, with a career lasting something like 35 years, coming up as an extra and even appearing in the first Best Picture winner, Wings. Career longevity aside, though, he always felt like a wooden actor to me. Of course, being a movie star, and being a good actor, are frequently two different things: acting requires the ability to act, being a movie star is more about charisma and charm than anything else. And it almost feels idiotic to argue he was a wooden actor, given he won two Oscars, and was nominated for three others, so somebody thought he had skills. But I say he was a wooden actor, and so he was. Continue reading
Directed by George Stevens
Screenplay by DeWitt Bodeen, from the play of the same name by John Van Druten, which was based on the novel of the same name by Kathryn Forbes
Starring Irene Dunne, Barbara Bel Geddes, Phillip Dorn, Steve Brown, Peggy McIntyre, Oscar Homolka, Ellen Corby, and Edgar Bergen
George Stevens might be one of the most underrated directors in history, which is sort of an insane thing to think about a man who has two Oscars for Best Director. But ask anybody to name ten directors working before 1960 and you’d probably not hear his name mentioned once. He might not even be in the top 20. Continue reading