Supporting Actress: Jan's Out, Feb's In
So, who are your five favorite nominees from this early batch? And, separate question, what are your five favorites among the films? My own all-star team of performances from this batch probably entails Judith Anderson for Rebecca, Fay Bainter for Jezebel, Jane Darwell for The Grapes of Wrath, Agnes Moorehead for The Magnificent Ambersons, and Barbara O'Neil for All This, and Heaven Too, with apologies to close runner-up Patricia Collinge for The Little Foxes. If we're talking actual movies, my cream of the crop encompasses Dead End, Dodsworth, Gone with the Wind, The Magnificent Ambersons, and The Philadelphia Story, though it stings to leave out Grapes, Rebecca, and Stage Door, especially.
What are your thoughts, dear reader? And—one more question—are there supporting performances by women from 1936-1942 that you especially wish had appeared on Oscar's ballot?
Lastly, do consider following along with the Supporting Actress films for February, already posted. The beauty of this feature is that you can already see what film will be up for review on the site and on Twitter for any given day. I'd love to hear other voices on the same movies. I know you're out there, you opinionated queens. Four of February's performances are first-time viewings for me: Paulette Goddard in So Proudly We Hail (1943), Lucile Watson in Watch on the Rhine (1943), and two winners, Ethel Barrymore in None But the Lonely Heart (1944) and Anne Baxter in The Razor's Edge (1946). Beyond my curiosity about these four, I'm especially keen to revisit The Song of Bernadette (1943), which I saw once, ages ago. I wish I remembered Crossfire (1947) more clearly. Two famous films that I didn't love the first and only times I saw them, Mildred Pierce (1945) and Key Largo (1948), are also ripe for reassessment. And somehow, we'll all get through the mid-40s fad for nominating ethnically inappropriate performances: Aline MacMahon's "Chinese" peasant in Dragon Seed (1944), though she at least applies a soft touch; Gale Sondergaard's member of the palace in Anna and the King of Siam (1946); and, easily worst of all, Flora Robson's blackface part in Saratoga Trunk (1945, but nominated in 1946). Jesus, keep me close to the cross.