Oscars 1941: Best Director

Today, we look at Best Director of 1941, which John Ford won, accomplishing two rare feats: the three-time Oscar winner and the back-to-back Oscar winner:

Ford was not the first to pull off three: Frank Capra was when he won in 1938 for You Can't Take It with You, following his triumphs for It Happened One Night and Mr. Deeds Goes to Town. He was, however, the first to get two of them back to back, a feat only accomplished by two other filmmakers: Joseph L. Mankiewicz and Alejandro González Iñárritu. Ford of course deserved the Oscar for The Grapes of Wrath and The Informer - but what of How Green Was My Valley? My thoughts:

Oscars 1941: Best Actress

Olivia de Havilland and Joan Fontaine were sisters. They were also rivals. Things didn't get as bad as Cain and Abel, but they were notoriously prickly about each other, and by the time De Havilland won her first Oscar for 1946's To Each His Own, they were barely on speaking terms. Fontaine frequently blamed jealousy, especially since the two were nominated against each other in 1941, each for their second nomination...and Joan won:

Apparently, Olivia was less offended by that and more offended by an insulting (but pretty funny) remark Fontaine made about her sister's new husband ("He's had four wives and written one book. Too bad it isn't the other way around."). And one doubts Olivia could have been too shocked by her sister winning: Joan had just starred in the previous year's Best Picture winner and she had won the New York Film Critics' Circle prize. 

But then, who knows? Maybe De Havilland was rooting for Bette Davis or even someone else. It is, after all, a lineup full of rich performances:

Oscars 1941: Best Supporting Actress

1941's Best Supporting Actress lineup has all the category's favorites. You have not just one devoted mother, but two; not just one tragically good conscience, but two; of those two, one is a beautiful ingenue making a strong debut; and then you have the scene-stealing diva, who walks away with the prize:

Can't blame them. It's a role and performance that's better than the film it's in. Besides, Astor was a genuine star, and she had her role in The Maltese Falcon for viewers to consider, too. But even if it's not surprising, was it deserving? Let's talk:

Oscar 1941: Best Picture of the Year

It's taken me a long time to figure out how to write this one. Ranking the Best Picture nominees of 1941 is tough because, truthfully, I don't think any of these are bad. There's at least one movie I dislike but, even that one is well-mounted and, I think, well-meaning enough that one can't just dismiss it out of hand. Too, there are a few that I personally like but think a Best Picture nomination is a little much...even if I can't quite put a finger on why. My Top Three are no-brainers but, in what order? And, admittedly, there are some I know I admire but do not necessarily recall specifics as to why. How does one rank that?

I did my best. Here are the ten nominees for Best Picture, in ascending order of how I like them:

1941: And Now The Season Starts

August is the last month of summer, and in 1941, it was the first major release month for Best Picture contenders. Sure, Citizen Kane came in Spring, but August gave us An Inspirational True Story, A Surprise Comedy Hit, and An Adaptation Of An Award-Winning Stage Production. Oscar-wise, hard to beat that combination.

The ITS is Blossoms in the Dust, a financial success that certified Greer Garson (we last saw her in Pride and Prejudice) as one of the biggest stars of the decade - as you'll see, she had two hits this one month. A bio of Texas philanthropist Edna Gladney, Garson herself would become a Texas philanthropist decades later, spending her retirement years in Dallas and helping to fund various universities' arts programs. Blossoms in the Dust was nominated for four Academy Awards and, I think, helped pave the way to her Oscar win for the next year's Mrs. Miniver.

The SCH is Here Comes Mr. Jordan, the movie with everything: sports, romance, angels, reincarnation, murder. The surprise is how well it did with audiences, critics, and the Oscars, but I suppose every year has at least one of those (Barbie, Juno, Working Girl, It Happened One Night). It's also one of those foolproof stories, a guaranteed success no matter when it comes out: it was later remade as Heaven Can Wait (#5 film of 1978, nine Academy Award nominations) and Down to Earth (didn't break the 2001 Top Ten nor earn any Oscar nods, but it made a profit!). Here Comes Mr. Jordan was nominated for seven Academy Awards.

The AOAAWSP is The Little Foxes. On Broadway, Tallulah Bankhead originated the role Bette Davis played in the film and there was bad blood between them ever since (well, bad on Bankhead's side; Davis was an admirer who wondered why Bankhead wasn't cast). A success on both stage and screen, both were followed by a prequel, Another Part of the Forest, one of my favorite movies of 1948. Strange to me that there's never even been a Great Performances remake; the only other adaptations of this work were all before 1970, the last American one in 1956 - starring, of all people, the aforementioned Greer Garson. The Little Foxes was nominated for nine Academy Awards.

But they were not the only films released in August, naturally. Here are the ten I saw: