I have only seen Hagen from this lineup, but I'm not on the bandwagon. I find her shrill and broad but not 'on the beat' in the way that other nominated dumb blondes (Warren in Victor/Victoria comes to mind) were. She's missing the timing of the rest of the cast and her cruelly constructed character is the one thing this film does badly, I think. I'm not a fan and - from what I've seen in other films - it might just be Hagen as an actress after all.
My picks for this year:
1. Maj-Britt Nilsson, Secrets of Women
2. Eva Dahlbeck, Secrets of Women
3. Mona Freeman, Angel Face
4. Filomena Russo, Two Cents Worth of Hope
5. Geraldine Hall, The Captive City
Best Supporting Actress 1952
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Quinn Cummings went on to a major supporting role on the Sada Thomspon TV series Family.
Kay Medford was largely a theatre actress -- I'm pretty sure she played the Mama part in the original Broadway Bye Bye Birdie.
Catherine Burns was also a theatre actress. I've told this story here before, but...she did an off-off-B'way play with a friend of mine in the early 80s. I was very excited to meet her -- her Last Summer performance had made a deep impression on my 19-year-old self -- but she was so ghastly, amateur-level in the play, it was hard to find anything to mumble to her when I was introduced.
Jeannie Berlin's major credit post-Heartbreak Kid was the lead in Sheila Levine Is Dead and Living in New York -- a best-selling book that was more or less the Bridget Jones' Diary of the early 70s, but was made into a hideous movie. That pretty much ended her serious career, though she popped up occasionally in minor efforts.
Kay Medford was largely a theatre actress -- I'm pretty sure she played the Mama part in the original Broadway Bye Bye Birdie.
Catherine Burns was also a theatre actress. I've told this story here before, but...she did an off-off-B'way play with a friend of mine in the early 80s. I was very excited to meet her -- her Last Summer performance had made a deep impression on my 19-year-old self -- but she was so ghastly, amateur-level in the play, it was hard to find anything to mumble to her when I was introduced.
Jeannie Berlin's major credit post-Heartbreak Kid was the lead in Sheila Levine Is Dead and Living in New York -- a best-selling book that was more or less the Bridget Jones' Diary of the early 70s, but was made into a hideous movie. That pretty much ended her serious career, though she popped up occasionally in minor efforts.
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Big Magilla
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Jocelyne LaGarde only made one movie. She was not a professional actress, but that fact is generally known. Marchand was apparently a well respected ballerina who seems to have disappeared. Who knows if she even lived past 1955.
The others you cite I have seen in other things, but their Oscar nominated performance is generally their most significant role. Peggy Wood and Kay Medford are notable exceptions.
Peggy Wood was a hugely popular operetta star on Broadway, who I personally discovered as the star of TV's long-running Mama. Her film roles were few and far between, most notably as the central casting secretary in 1937's A Star Is Born and as Naomi in The Story of Ruth, her best screen role prior to The Sound of Music, a role she won over Kate Smith.
Medford I've seen in lots of things, mostly on TV, but also on screen in small parts in A Face in the Crowd and BUtterfield 8 and larger parts in lesser known films like Jamboree and Girl of the Night.
The others you cite I have seen in other things, but their Oscar nominated performance is generally their most significant role. Peggy Wood and Kay Medford are notable exceptions.
Peggy Wood was a hugely popular operetta star on Broadway, who I personally discovered as the star of TV's long-running Mama. Her film roles were few and far between, most notably as the central casting secretary in 1937's A Star Is Born and as Naomi in The Story of Ruth, her best screen role prior to The Sound of Music, a role she won over Kate Smith.
Medford I've seen in lots of things, mostly on TV, but also on screen in small parts in A Face in the Crowd and BUtterfield 8 and larger parts in lesser known films like Jamboree and Girl of the Night.
I think Colette Marchand is a unique case; one can find biographical notes even about Miliza Korjus and her post-Great Waltz life and career. But nothing at all about Marchand and what she did, where she lived in the last 55 years. Nothing even in French. Which makes her - other than the fact that she was so impressive in her only famous movie - very intriguing.
As for Moulin Rouge being so widely seen, I'm not so sure. I wouldnt be surprised if some of those who voted Jean Hagen (a very good and understandable choice by the way) and those who picked reliable Thelma Ritter only heard about Huston's movie.
There are several Oscar nominees whom I have only seen in their nominated roles. Till recently - when I saw a movie called Flower Drum Song - Miyoshi Umeki was one of these. But then there are Jocelyn LaGarde, Quinn Cummings, Justin Henry, Jeannie Berlin, Penelope Milford, Ida Kaminska, Catherine Burns, maybe Peggy Wood, maybe Kay Medford, and, I'm sure, many others.
As for Moulin Rouge being so widely seen, I'm not so sure. I wouldnt be surprised if some of those who voted Jean Hagen (a very good and understandable choice by the way) and those who picked reliable Thelma Ritter only heard about Huston's movie.
There are several Oscar nominees whom I have only seen in their nominated roles. Till recently - when I saw a movie called Flower Drum Song - Miyoshi Umeki was one of these. But then there are Jocelyn LaGarde, Quinn Cummings, Justin Henry, Jeannie Berlin, Penelope Milford, Ida Kaminska, Catherine Burns, maybe Peggy Wood, maybe Kay Medford, and, I'm sure, many others.
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Big Magilla
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Not even close. Penelope Milford had a near 30 year career (1970-1997) and was the sister of Kim Milford, the original Rocky in The Rocky Horror Show. She may not even be the most obscure nominee of the 70s. Jeannie Berlin, Susan Tyrrell, Leslie Browne, Quinn Cummings and Ronee Blakley haven't exactly set the world on fire either.
Unless I'm forgoetting someone, though, Marchand and Miliza Korjus are the only nominees I've never seen in anything outside their Oscar nominated performances.
Unless I'm forgoetting someone, though, Marchand and Miliza Korjus are the only nominees I've never seen in anything outside their Oscar nominated performances.
Penelope Milford.Big Magilla wrote:Marchand, on the other hand, is an extremely obscure actress, perhaps the most obscure ever to be nominated for a n Oscar.
Who will probably get my vote in 1978.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Big Magilla
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Moulin Rouge is not an obscure film. I can't imagine there are too many people who voted in this poll who have not seeen it. It's constantly shown on TV and was one of the first films ever released on home video, and as far as I know has never been out of circulation.
Marchand, on the other hand, is an extremely obscure actress, perhaps the most obscure ever to be nominated for a n Oscar. Nobody seesms to know anything about her outside of her meager early 50s credits as posted on the IMDb. and elsewhere.
Some of us don't think she was very good, extremely amateurish in my opinion. Suzanne Flon was the acting discovery for me in that film, but still not someone I would vote for - Danielle Darrieux in Five Fingers would get my French actress spot for the year if I had such a spot.
Marchand, on the other hand, is an extremely obscure actress, perhaps the most obscure ever to be nominated for a n Oscar. Nobody seesms to know anything about her outside of her meager early 50s credits as posted on the IMDb. and elsewhere.
Some of us don't think she was very good, extremely amateurish in my opinion. Suzanne Flon was the acting discovery for me in that film, but still not someone I would vote for - Danielle Darrieux in Five Fingers would get my French actress spot for the year if I had such a spot.
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Then why does Collete Marchand have only two votes, because I voted for her too, and I placed the first vote for Ms Marchand.ITALIANO wrote:Nice that two of us voted for Marchand. I feel - and not just in this case - that had more people seen her movie, she would still probably lose to Jean Hagen but come close to her. Memorable she certainly is.Damien wrote:My vote enthusiastically goes to Collete Marchand. Heart-rending work, and she perfectly captures the time and place of late 19th century Montmartre. A truly memorable performance.
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Nice that two of us voted for Marchand. I feel - and not just in this case - that had more people seen her movie, she would still probably lose to Jean Hagen but come close to her. Memorable she certainly is.Damien wrote:My vote enthusiastically goes to Collete Marchand. Heart-rending work, and she perfectly captures the time and place of late 19th century Montmartre. A truly memorable performance.
It's so odd that in the midst of all these nominations, Ritter didn't receive Academy recognition for what may be her best performance, Rear WIndow.ITALIANO wrote:By now, Thelma Ritter was nominated for anything - and while she was never bad, and she's actually good even in With a Song in My Heart, it's the kind of performance she could have done in her sleep.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
Thelma Ritter's is the least interesting of her nominated performances -- she might have phoned it in -- and the least interesting of these 5 nominees.
Terry Moore is (surprisingly) very good in Come Back, Little Sheba -- in fact, she's the best thing about this dreary movie. But the role doesn't give her enough to do to warrant an Oscar.
Jean Hagen is amusing in Singin' In The Rain, but there have been any number of more accomplished Dumb Blonde performances over the years. The performance, like the movie, is over-rated.
I'm delighted that Gloria Grahame -- both a unique screen personality and an emblem of her time -- has an Oscar, but she has very little to do in the Bad And The Beautiful. She has much more to do in Macao, and she does it wonderfully.
My vote enthusiastically goes to Collete Marchand. Heart-rending work, and she perfectly captures the time and place of late 19th century Montmartre. A truly memorable performance.
My Own Top 5:
1. Barbara O’Neil in Angel Face
2. Colette Marchand in Moulin Rouge
3. Gloria Grahame in Macao
4. Lynn Bari in Has Anybody Seen My Gal?
5. Ruth Roman in Invitation
Edited By Damien on 1275454879
Terry Moore is (surprisingly) very good in Come Back, Little Sheba -- in fact, she's the best thing about this dreary movie. But the role doesn't give her enough to do to warrant an Oscar.
Jean Hagen is amusing in Singin' In The Rain, but there have been any number of more accomplished Dumb Blonde performances over the years. The performance, like the movie, is over-rated.
I'm delighted that Gloria Grahame -- both a unique screen personality and an emblem of her time -- has an Oscar, but she has very little to do in the Bad And The Beautiful. She has much more to do in Macao, and she does it wonderfully.
My vote enthusiastically goes to Collete Marchand. Heart-rending work, and she perfectly captures the time and place of late 19th century Montmartre. A truly memorable performance.
My Own Top 5:
1. Barbara O’Neil in Angel Face
2. Colette Marchand in Moulin Rouge
3. Gloria Grahame in Macao
4. Lynn Bari in Has Anybody Seen My Gal?
5. Ruth Roman in Invitation
Edited By Damien on 1275454879
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
Grahame's win, just like Beatrice Straight's 24 years later, had a lot to do with what I call "the Shirley Fonda syndrome". In an interview she gave in the '70s, she candidly described how Henry, not bothered with all the Oscar hoopla, gave her the ballots to fill as well the tickets to the Academy screenings which she attended with a girlfriend. I guess there were enough such spouses who empathized with those wronged show biz wives on screen, regardless of the size of the role they had. And maybe some guilt ridden men too.
Edited By Uri on 1275452870
Edited By Uri on 1275452870
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Big Magilla
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I usually do my write-up and then vote, but this time I cast my ballot first because I wanted to see if I was correct in my instinct that one nominee would run away with it. So far, my instinct is proved correct.
Start by saying Ethel Waters is clearly superior to the field, and might bridged the long Hattie McDaniel-to-Sidney Poitier gap in black acting winners had she been rightfully nominated.
Of those listed:
Ritter always contributes something, but this performance ranks near Birdman of Alcatraz among her least impressive nominations.
Terry Moore was more than a Megan Fox, but not so much more that this nod was merited. She has a not-terribly-interesting role, and does nothing special with it.
I have to disagree some with the characterization of Grahame's work. The first two times I saw The Bad and the Beautiful -- first in my teens, then much later, in my late 30s -- I thought she took hold of the screen the moment she appeared. In both viewngs, I thought, Oh, no wonder she won -- and then, each time, I had to correct that impression when she disappeared from the story so quickly. Had she had 10 or so more minutes continuing the performance, her win would make sense. As it is, you have to figure her multiple credits that year, and her previous nomination, played a significant part in her winning.
I found Marchand's performance quite impressive...it's certainly the most full-bodied and complex of this bunch. Moulin Rouge isn't entirely successful, but, bless Huston, he's at least trying for something different and ambitious, and it's nice that Marchand's performance got this recognition.
But sometimes something less deep can simply be more memorable, and I'll, like most, go with Hagen's now-iconic work. It's been weird to watch, over my lifetime, as Singin' in the Rain has moved from moderately well-received entertainment (so lightly regarded by the Oscars that, a year after another Kelly film won best picture, it even lost Scoring of a musical to With A Song in My Heart) to no-dissent-allowed masterpiece -- one of the Cahierists' most signal revisionist victories. I first saw the film in 1964, before it was a classic, and enjoyed it alot on a simple movie-pleasure level -- a position off which I've never moved, despite massive peer pressure to critically upgrade it. But even in that first, young watch I thought Hagen was the standout, and of course opinion of her work has only appreciated as its fame has grown (today, "I caan't stan-im" is as famous a movie quote as "I coulda been a contender"). Give her the win.
Start by saying Ethel Waters is clearly superior to the field, and might bridged the long Hattie McDaniel-to-Sidney Poitier gap in black acting winners had she been rightfully nominated.
Of those listed:
Ritter always contributes something, but this performance ranks near Birdman of Alcatraz among her least impressive nominations.
Terry Moore was more than a Megan Fox, but not so much more that this nod was merited. She has a not-terribly-interesting role, and does nothing special with it.
I have to disagree some with the characterization of Grahame's work. The first two times I saw The Bad and the Beautiful -- first in my teens, then much later, in my late 30s -- I thought she took hold of the screen the moment she appeared. In both viewngs, I thought, Oh, no wonder she won -- and then, each time, I had to correct that impression when she disappeared from the story so quickly. Had she had 10 or so more minutes continuing the performance, her win would make sense. As it is, you have to figure her multiple credits that year, and her previous nomination, played a significant part in her winning.
I found Marchand's performance quite impressive...it's certainly the most full-bodied and complex of this bunch. Moulin Rouge isn't entirely successful, but, bless Huston, he's at least trying for something different and ambitious, and it's nice that Marchand's performance got this recognition.
But sometimes something less deep can simply be more memorable, and I'll, like most, go with Hagen's now-iconic work. It's been weird to watch, over my lifetime, as Singin' in the Rain has moved from moderately well-received entertainment (so lightly regarded by the Oscars that, a year after another Kelly film won best picture, it even lost Scoring of a musical to With A Song in My Heart) to no-dissent-allowed masterpiece -- one of the Cahierists' most signal revisionist victories. I first saw the film in 1964, before it was a classic, and enjoyed it alot on a simple movie-pleasure level -- a position off which I've never moved, despite massive peer pressure to critically upgrade it. But even in that first, young watch I thought Hagen was the standout, and of course opinion of her work has only appreciated as its fame has grown (today, "I caan't stan-im" is as famous a movie quote as "I coulda been a contender"). Give her the win.