Day Ten: Best Picture, 1954

The 1954 Academy Awards gave nominations to several stone-cold classics: On the Waterfront, Sabrina, Rear Window, 20,000 Leagues Under the Sea, A Star is Born, Seven Brides for Seven Brothers. As usual, the Best Picture lineup does not 100 percent reflect that, though The Caine Mutiny is, I suppose arguable (just because I don't like it doesn't mean it's not a classic).

So, what do we have? The Caine Mutiny, in which a Navy crew rebels against their captain after he shows clear signs of mental instability. The Country Girl, in which a hot-shot Broadway director hires a washed-up alcoholic actor for a show, only to lock horns with, and inexplicably fall for, exhausted wife. On the waterfront, in which an ex-boxer working the  waterfront must choose between naming names of corrupt union bosses...or keeping quiet and allowing innocent men to die. Seven Brides for Seven Brothers, a musical about wild mountain men getting tamed by their brother's wife. And Three Coins in the Fountain, about romance for three American women living in Rome.

For the Academy, and many others, was clear:

As for me? Follow the jump....

Day Nine: Best Actress, 1954

In 1940, at the ceremony honoring the films of 1939, Hattie McDaniel made history as the first black performer to be nominated for an Academy Award. She also made history as the first black winner, receiving the plaque for Best Supporting Actress for Gone with the Wind.

It would take another 15 years for a second black performer to be nominated for an Oscar, which would be history-making anyway (when an industry does its utmost to ignore or handicap you, every step is a milestone). But Dorothy Dandridge's nomination for playing the titular role in Otto Preminger's adaptation of Carmen Jones carries an extra significance: it was the first ever for a black woman in Best Leading Actress. She would never be nominated again, a fact that some blame on Preminger, who during their four-year affair advised her against taking supporting roles in high-profile films, since a Best Actress nod meant she should only take star parts from then on. He was not necessarily wrong, but nor was he some altruist; Preminger had a history of taking actresses under his wing, rocketing them to stardom and Oscar nods, then controlling their careers into oblivion.

To this day, only ten women have repeated the feat, with Ruth Negga being the most recent for 2016's Loving. Monster's Ball's Halle Berry is still the only black winner for Best Actress, and she did so just two years after winning the Emmy equivalent for playing the title role in Introducing Dorothy Dandridge. Funny how things work out...

Of course, just as I'm crossing my fingers for a three-peat repeat in the supporting categories (ahem, Parasite), I'm also hoping that this year, we can add a few more names to the roster. Earlier this year, I predicted that this would be the first time since 1972 when more than one black actress got a Best Actress nomination, and although the names I have in mind may have changed (Lupitaaaaaaa!), I still expect it to happen. 

But you never know with Oscar. Sometimes he does the right thing. Other times, he surprises you in unpleasant ways:

The nominees were....

Day Five: Best Actor, 1954

I have no way of knowing this for certain - I wasn't there, I don't have access to archives - but historians tell us that Bing Crosby was the favorite to win for his performance as a recovering alcoholic in The Country Girl. It seems bonkers now, considering Crosby was already an Oscar winner for Going My Way in 1944, while Marlon Brando was not only in the Best Picture frontrunner, but had been accumulating momentum with three previous, unsuccessful nominations, all in consecutive years: 1951's A Streetcar Named Desire, 1952's Viva Zapata!, and 1953's Julius Caesar. Not to mention it was a rematch against Humphrey Bogart, whose win for The African Queen came the same year as A Streetcar Named Desire. Plus, he had already swept what we now call "the precursors." But there you have it - the results were a shock, an upset:

Just another example of how times have changed as far as Oscar narratives, momentum, and expectations go. Anyway, the nominees were:

Day Two: Best Screenplay, 1954

Until 1957, the Academy Awards had three writing categories: Best Motion Picture Story honored original stories (obviously) as written in the treatment stage, but not the final screenplay; Best Story & Screenplay honored original works where the story and screenplay came from the same writer or writing team; and Best Screenplay honored the work of writers either adapting another work, such as a play or novel, or writing the script from the original story. Often it was more the former than the latter, and this year is no exception: two Broadway shows, two short stories, and a novel that was simultaneously adapted into a Broadway show while the film version was in production.

The nominees are...

Day One: Best Director, 1954

As I mentioned earlier, musicals brought me to 1954, particularly the Actor-and-Actress-nominated A Star is Born and Best Picture nominee Seven Brides for Seven Brothers - stellar cinematic works whose directors (George Cukor and Stanley Donen, respectively) went un-nominated. You'd think Seven Brides would have a better shot here, but 1954 was one of those odd years where only 2/5 of the Best Director roster helmed Best Picture nominees: On the Waterfront's Elia Kazan and The Country Girl's George Seaton.

The three "lone" director slots went to Alfred Hitchcock for the unassailable thriller Rear Window, Billy Wilder for the influential rom-com Sabrina, and William A. Wellman

 for the execrable-but-profitable disaster flick The High and the Mighty. For Hitchcock, it was the second of three times that he would be up for a film that wasn't a Best Picture nominee, the other two being Lifeboat and Psycho. For Wilder, it was the second time in a row, having been nominated just the previous year for Stalag 17 - he'd be a lone director nominee again for Some Like It Hot in 1959. For Wellman, it was a first, his previous nods having come from Best Picture nominees Battleground...and the original A Star is Born! Funny how things work out...

Was their 1954 output worthy of a nomination? Let's check after the jump....