Best Actress 1978

1927/28 through 1997

Best Actress 1978

Ingrid Bergman - Autumn Sonata
17
44%
Ellen Burstyn - Same Time, Next Year
3
8%
Jill Clayburgh - An Unmarried Woman
7
18%
Jane Fonda - Coming Home
6
15%
Geraldine Page - Interiors
6
15%
 
Total votes: 39

Uri
Adjunct
Posts: 1230
Joined: Wed Jan 01, 2003 11:37 pm
Location: Israel

Post by Uri »

Eric wrote:
Uri wrote:And then there was Clayburgh. Her movie was a huge event and she was the It girl, excuse me, woman of the moment and I can see why An Unmarried Woman and her turn in it were the right thing in the right time, but – and I know it's my fault and not hers – I'm totally turned off by her persona. Maybe it's her sloppy posture, maybe it's her voice, maybe it's the bizarre way her upper lip meets her nose, I just can't overcome something about her and immerse myself in her performances. Sorry.

So if Magilla is Rex Reed, that must leave John Simon for Uri.

Ok, growing up being familiar with the reviews of Ze'ev Rav-Nof, Dan Fainaro, Uri Kline, Me'ir Schnizer – all of them, I'm sure, household names around here, I had to do a little checking, and I came up with the following:

John Simon, the most dyspeptic film critic of all, goes off on Atom Egoyan at the New York Film Festival.
BY CHARLES TAYLOR
If nothing else, the criticism of John Simon has kept alive a sense of history. No one writing today has done more to uphold the aesthetic standards of the Third Reich. As film critic for the National Review and theater critic for New York magazine, Simon's specialty is making punching bags out of people whose looks he finds repellent, especially those who don't conform to traditional modes of beauty. (Barbra Streisand has been a favorite target over the years: Early in her career, he said she looked like "a tremulous young borzoi.") If a performer isn't Simon's idea of pinup material, the merits of his or her work are beside the point. It was one of his remarks that once earned him a plate of hot goulash in the face courtesy of actress Sylvia Miles. His prejudices often make him sloppy with the facts. In his review of Razl Ruiz's film of Proust's "Time Regained," he identified Ruiz as "like Proust, a homosexual." As Film Comment pointed out, that should come as some shock to Mrs. Ruiz.


Now I know who and what I am and I'll have to live with it. Knowing that none of you were ever subjected to a less then objective and pristine judgment should be my comfort in this low point of my life.
flipp525
Laureate
Posts: 6163
Joined: Thu Jan 09, 2003 7:44 am

Post by flipp525 »

Mister Tee wrote:Clayburgh's reputation also declined when she began to play too many similarly high-society characters -- especially in the far-lesser, irritating film It's My Turn a few years later. (I disagree with Italiano about her '79 Starting Over performance. It may not have been great, but it was by far the most likable turn she ever had on screen, and well superior to, say, Marsha Mason that year) So I'll stick with her, but acknowledge it's probably one of those "You had to be there" things.
Any goodwill I had built up for Jill Clayburgh went out the window once I saw I'm Dancing As Fast As I Can (1982). One of the worst movies (and performances) I've ever seen from an Oscar-nominated actress. All I can see is the beach seizure now when I think of her.

I loved her guest-starring stint on nip/tuck a few years back. And I liked her in Starting Over, too (as well as Candice Bergen's hilarious turn).
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."

-Gone With the Wind by Margaret Mitchell
Mister Tee
Tenured Laureate
Posts: 8637
Joined: Wed Jan 01, 2003 2:57 pm
Location: NYC
Contact:

Post by Mister Tee »

I'd seen Burstyn do Same Time Next Year onstage, opposite Charles Grodin, and, while the material was the same, it played alot better. I can't say if it was Alda's callow performance or Saks' dismal direction that ruined it for film, but everyone is right to dismiss Burstyn out of hand in this race. Even the nomination seemed by rote (similar to Charlize Theron's in '05).

Interiors for a lot of us felt like a film Woody Allen should have been making fun of; much of the characters' anguish seemed very close to over the top, and the symbolism (earth mother Stapleton wearing red, rescuing the daughter from drowning) risible. The achievement of the film is that it never turns utterly ridiculous, and for that the actors can be credited. Page, like Stapleton, was an acceptable nominee, but no further.

Jane Fonda claimed to have appreciated this Oscar more than the first, and, god help her, she was not only wrong, but wrong in a way that damaged her later career. Fonda excelled in playing a modern, skeptical, wised-up lady. When, as here and in films to follow, she plays a naif waiting to being awakened to the superiority of liberalism, she's insultingly shallow. Coming Home as a film is fairly in line with my own political beliefs, but I want alot more from art than to have those beliefs stroked. I found the film's didacticism (liberals are not only morally correct, they're better in bed!) vaguely insulting. Fonda of course won, largely because people in Hollywood wanted to salute her for having been right in the end about the war and Nixon, but they chose her worst nomination short of On Golden Pond to make that statement.

Autumn Sonata struck me as something like generic Bergman at that point -- not up to the level of the films (Cries and Whispers/Scenes from a Marriage/Face to Face) that had recently preceded it. Both actresses are very strong, though Bergman had the more dominant role and was clearly a deserving nominee.

But I'll reinforce my Man of the 70s reputation and go with Clayburgh. I'd had my eye on her ever since a TV movie called Hustling, where she played a hooker, and I'd watched her survive the utterly dismal Gable and Lombard, so it was a great treat to see her take this major female role and break through with it. I recognize the problems people have with An Unmarried Woman -- it's hard to have so much sympathy for a character who, whatever her problems in life, can push them aside by having lunch with the girls at 21. And the film's ending seemed to go to ridiculous lengths to create obstacles for the lovers; as Goldie Hawn said two years later in Private Benjamin, "I'd have been Mrs. Alan Bates so fast...". Clayburgh's reputation also declined when she began to play too many similarly high-society characters -- especially in the far-lesser, irritating film It's My Turn a few years later. (I disagree with Italiano about her '79 Starting Over performance. It may not have been great, but it was by far the most likable turn she ever had on screen, and well superior to, say, Marsha Mason that year) So I'll stick with her, but acknowledge it's probably one of those "You had to be there" things.
Reza
Laureate Emeritus
Posts: 10031
Joined: Thu Jan 02, 2003 11:14 am
Location: Islamabad, Pakistan

Post by Reza »

Big Magilla wrote:Burstyn's nomination was unwarranted.
I reviewed this recently and Burstyn is actually quite good.
User avatar
Eric
Tenured
Posts: 2749
Joined: Wed Jan 01, 2003 11:18 pm
Location: Minneapolis, Minnesota
Contact:

Post by Eric »

Uri wrote:And then there was Clayburgh. Her movie was a huge event and she was the It girl, excuse me, woman of the moment and I can see why An Unmarried Woman and her turn in it were the right thing in the right time, but – and I know it's my fault and not hers – I'm totally turned off by her persona. Maybe it's her sloppy posture, maybe it's her voice, maybe it's the bizarre way her upper lip meets her nose, I just can't overcome something about her and immerse myself in her performances. Sorry.
So if Magilla is Rex Reed, that must leave John Simon for Uri.
Big Magilla
Site Admin
Posts: 19318
Joined: Wed Jan 01, 2003 3:22 pm
Location: Jersey Shore

Post by Big Magilla »

The Original BJ wrote:Question: was there any talk at the time of a nomination for Liv Ullmann? I recently saw Autumn Sonata, and while I was prepared for an Ingrid Bergman tour-de-force, I was surprised at how knocked out I also was by Ullmann. (I guess I shouldn't have been surprised given the other performances I've seen by her, but this one seems to be mentioned less among her great roles than others -- or maybe it's just that Bergman's swan song dominates discussion about the film.)
Ullmann was certainly in the running but Bergman working for Bergman in her native tongue for the first time in forty years and pulling it off was the the acting coup of the year.

I don't think anyone at the time thought of it as her swan song. She had said something about it being her last movie, but no one took her seriously, actresses of a certain age were always saying that. No one knew how sick she was.
Big Magilla
Site Admin
Posts: 19318
Joined: Wed Jan 01, 2003 3:22 pm
Location: Jersey Shore

Post by Big Magilla »

Ingrid Bergman for reasons others have pretty much stated.

It was her next to last great role - let's not forget her Golda Meir in the TV mini-series, A Woman Called Golda for which she won a posthumous Emmy a few days after her death on her 67th birthday, an Emmy which was accepted by her daughter, Pia Lindstrom. It was thought by many that the Bergman-Liv Ullmann relationship in Autumn Sonata closely resembled the real life Bergman-Pia Lindstrom relationship.

Page should have been in support where she might have won in a close race with actual winner Maggie Smith.

Clayburgh was indeed very much the prototypical late 70s woman in An Unmarried Woman. Nothing she's done since has come anywhere near that career high performance, but she doesn't hold a candle to either Bergman or Simone Signoret, more heartbreaking and wonderful than ever as the retired prostitute in Madame Rosa. Why she wasn't nominated, I don't know. The film did win the foreign film Oscar the year before but wasn't released in L.A. until 1978 where it ran for a year. The rule about not being nominated in a year following a foreign film nomination hadn't yet kicked in.

Glenda Jackson is simply wonderful in Stevie and should have had a spot. Fonda was good in Coming Home, and deserved a nomination, but the film belongs to Jon Voight.

Burstyn's nomination was unwarranted.

Sorry, Uri, but Opening Night was not eligible. As far as I know it never had a theatrical run in the U.S. though I see the IMDB now lists an L.A. date of December 22, 1977. That may have been a special screening. I distinctly recall the film not having been given an Oscar qualifying run in L.A. that year. It was never shown in New York.
The Original BJ
Emeritus
Posts: 4312
Joined: Mon Apr 28, 2003 8:49 pm

Post by The Original BJ »

Question: was there any talk at the time of a nomination for Liv Ullmann? I recently saw Autumn Sonata, and while I was prepared for an Ingrid Bergman tour-de-force, I was surprised at how knocked out I also was by Ullmann. (I guess I shouldn't have been surprised given the other performances I've seen by her, but this one seems to be mentioned less among her great roles than others -- or maybe it's just that Bergman's swan song dominates discussion about the film.)
Reza
Laureate Emeritus
Posts: 10031
Joined: Thu Jan 02, 2003 11:14 am
Location: Islamabad, Pakistan

Post by Reza »

A great group of nominees although Page should have been nominated in the supporting category.

Voted for Bergman.....leagues ahead of the other ladies in competition.

My top 5 of the year:

Ingrid Bergman, Autumn Sonata
Jill Clayburgh, An Unmarried Woman
Glenda Jackson, Stevie
Ellen Burstyn, Same Time, Next Year
Jane Fonda, Coming Home

The 6th spot: Liv Ullmann, Autumn Sonata




Edited By Reza on 1257696758
ITALIANO
Emeritus
Posts: 4076
Joined: Mon Jan 06, 2003 1:58 pm
Location: MILAN

Post by ITALIANO »

This time it's not easy.

Fonda won, partly because she was in a movie that many back then thought highly of (and that she was strongly passionate about), and partly because, well, she WAS Jane Fonda, and in the cultural and political context of the time she was certainly considered a two Oscar caliber actress.

Nobody was really surprised, though today things are different and both the movie and Fonda's performance haven't aged well. Even back then some felt Jill Clayburgh should have won; she was the actress du jour, a very "contemporary" face in a very successful movie which today nobody remembers, An Unmarried Woman. I was just a child, but I can still remember my mother coming back from seeing it and being really enthusiastic about it and about Clayburgh. There was something about it that many women of the late 70s felt was honest, important, and deeply affecting; it made Clayburgh a star, which led to another, less deserved nomination the following year, and to her being chosen by one of the best Italian directors for a strong role in his new effort, which turned out to be ambitious, bold even, but not very good. Clayburgh may have been overrated, but she didnt deserve to be forgotten so quickly; she had talent but she wasnt very charismatic and, while pretty, not very photogenic.

Ellen Burstyn was good and funny but her movie was of little more than sitcom level, and I think that today it should really be between the two older nominees. Bergman was of course great in her last truly great role, but I have voted often for her here, so I'm left with Geraldine Page. Interiors is Woody Allen playing Ingmar Bergman, and it's often naive, obvious, predictable, but it's also, I feel, generally honest, very well acted, and I'd say that Bergman's torments arent totally out of place in neurotic New York. Page (though her role is admittedly small) is very well cast, maybe even too well cast; so she's very good but not surprisingly good. Still I have never voted for her and I wont vote for her again; I will do it now.
Uri
Adjunct
Posts: 1230
Joined: Wed Jan 01, 2003 11:37 pm
Location: Israel

Post by Uri »

Should have been a toss between Glenda Jackson for Stevie and Gena Rawlands for Opening Night (thanks, Big Magila), and since I went with Jackson twice in the past, I'd go with Rawlands this time.

Of the actual nominees, Bergman is in a (stratospheric) league of her own, compared with the other four, but unfortunately, I don't cheat (when it comes to the Oscars, that is), so I can't go with her.

Page over accentuated performance was supporting, so she's easily out. The other three are reasonable nominees in a very weak year. When it came to Coming Home, Fonda was sincere but tediously preachy and self congratulatory on screen and off, as was her film. For all the warmth and intelligence Burstyn invested in her performance, nothing could really overcome the mechanical and artificial nature of the material she was handed.

And then there was Clayburgh. Her movie was a huge event and she was the It girl, excuse me, woman of the moment and I can see why An Unmarried Woman and her turn in it were the right thing in the right time, but – and I know it's my fault and not hers – I'm totally turned off by her persona. Maybe it's her sloppy posture, maybe it's her voice, maybe it's the bizarre way her upper lip meets her nose, I just can't overcome something about her and immerse myself in her performances. Sorry.

I passed.




Edited By Uri on 1257695602
mlrg
Associate
Posts: 1747
Joined: Tue Dec 07, 2004 11:19 am
Location: Lisbon, Portugal

Post by mlrg »

Page is amazing but belongs in Supporting. She would have walked out with the Oscar if she was nominated there.

Fonda gets my vote
jowy_jillia
Graduate
Posts: 187
Joined: Sun May 10, 2009 12:38 pm

Post by jowy_jillia »

I have unfortunate not seen Coming Home (Shame on me)

For me Burstyn was phoning it in in "Same Time, Next Year". She was not deserving of her nomination.

Clayburgh is good.

Page is wonderful in an almost Bergmansque role. But the best performance by a female in 1978 belong to Ingrid Bergman. She portrayed all the nuance of her character greatly.

Omissions:
Diane Keaton in "Interiors". This performance was much better than her oscar winning performance in "Annie Hall".


Results:
1977
1. Diane Keaton - Annie Hall - 15 votes
2. Jane Fonda - Julia - 6 votes

1976
1. Sissy Spacek - Carrie - 8 votes
1. Liv Ullmann - Face to Face - 8 votes
3. Faye Dunaway - Network - 6 votes
4. Marie-Christine Barrault - Cousin, Cousine - 1 vote

1975:
1. Isabelle Adjani - The Story of Adele H - 10 votes
2. Louise Fletcher - One Flew over the Cuckoo's Nest - 5 votes
3. Ann-Margret - Tommy - 3 votes
4. Carol Kane - Hester Street - 2 votes

1974:
1. Ellen Burstyn - Alice Doesn't Live Here Anymore - 12 votes
2. Gena Rowlands - A Woman Under the Influence - 9 votes
3. Faye Dunaway - Chinatown - 4 votes

1973
1. Barbra Streisand - The Way We Were - 10 votes
2. Ellen Burstyn - The Exorcist - 5 votes
3. Joanne Woodward - Summer Wishes, Winter Dreams - 3 votes
4. Glenda Jackson - A Touch of Class - 2 votes
5. Marsha Mason - Cinderella Liberty - 1 vote

1972
1. Liza Minnelli - Cabaret - 19 votes
2. Cicely Tyson - Sounder - 1 vote
2. Liv´Ullmann - The Emigrants - 1 vote

1971
1. Jane Fonda - Klute - 14 votes
2. Glenda Jackson - Sunday, Bloody Sunday - 6 votes
3. Julie Christie - McCabe & Mrs. Miller - 1 vote

1970
1. Glenda Jackson - Women in Love - 16 votes
2. Carrie Snodgress - Diary of a Mad Housewife - 3 votes
3. Ali MacGraw - Love Story - 1 vote

1969
1. Jane Fonda - They Shoot Horses Don't They - 10 votes
2. Maggie Smith - The Prime of Miss Jean Brodie - 8 votes
3. Liza Minnelli - The Sterile Cuckoo - 2 vote
4. Genevieve Bujold - Anne of the Thousand Days - 1 vote
4. Jean Simmons - The Happy Ending - 1 vote

1968
1. Joanne Woodward - Rachel, Rachel - 9 votes
2. Katharine Hepburn - The Lion in Winter - 8 votes
3. Vanessa Redgrave - Isadora - 4 votes
4. Barbra Streisand - Funny Girl - 2 votes

1967
1. Anne Bancroft - The Graduate - 10 votes
2. Edith Evans - The Whisperers - 9 votes
3. Faye Dunaway - Bonnie and Clyde - 2 votes
4. Audrey Hepburn - Wait Until Dark - 1 vote
4. Katharine Hepburn - Guess Who's Coming to Dinner - 1 vote

1966
1. Elizabeth Taylor - Who's Afraid of Virginia Woolf? - 17 votes
2. Ida Kaminska - The Shop on Main Street - 3 votes
2. Lynn Redgrave - Georgy Girl - 3 votes
4. Anouke Aimée - A Man and A Woman - 1 vote

1965
1. Julie Christie - Darling - 11 votes
2. Julie Andrews - The Sound of Music - 9 votes
3. Elizabeth Hartman - A Patch of Blue - 2 votes
4. Samantha Eggar - The Collector - 1 vote

1964
1. Kim Stanley - Séance on a Wet Afternoon - 9 votes
2. Julie Andrews - Mary Poppins - 6 votes
3. Anne Bancroft - The Pumpkin Eater - 4 votes
4. Debbie Reynolds - The Unsinkable Molly Brown - 1 vote

1963
1. Patricia Neal - Hud - 16 votes
2. Leslie Caron - The L-Shaped Room - 3 votes
3. Shirley MacLaine - Irma La Douce - 1 vote
3. Rachel Roberts - This Sporting Life - 1 vote

1962
1. Anne Bancroft - The Miracle Worker - 7 votes
1. Katharine Hepburn - Long Day's Journey Into Night - 7 votes
3. Bette Davis - What Ever Happened to Baby Jane? - 4 votes
3. Geraldine Page - Sweet Bird of Youth - 4 votes
5. Lee Remick - Days of Wines and Roses - 2 votes

1961
1. Audrey Hepburn - Breakfast at Tiffany's - 9 votes
1. Sophia Loren - Two Women - 9 votes
3. Natalie Wood - Splendor in the Grass - 4 votes
4. Geraldine Page - Summer and Smoke - 2 votes
5. Piper Laurie - The Hustler - 1 vote

1960
1. Deborah Kerr - The Sundowners - 8 votes
2. Shirley MacLaine - The Apartment - 7 votes
3. Melina Mercouri - Never on a Sunday - 2 votes
4. Greer Garson - Sunrise at Campobello - 1 vote
4. Elizabeth Taylor - Butterfield 8 - 1 vote

1959
1. Simone Signoret - Room at the Top - 9 votes
2. Audrey Hepburn - The Nun's Story - 6 votes
3. Katharine Hepburn - Suddenly Last Summer - 2 vote
4. Elizabeth Taylor - Suddenly Last Summer - 1 vote

1958
1. Rosalind Russell - Auntie Mame - 8 votes
2. Susan Hayward - I Want to Live! - 7 votes
3. Elizabeth Taylor - Cat on a Hot Tin Roof - 3 votes
4. Shirley MacLaine - Some Came Running - 2 votes

1957
1. Joanne Woodward - The Three Faces of Eve - 6 votes
2. Anna Magnani - Wild is the Wind - 4 votes
2. Lana Turner - Peyton Place - 4 votes
4. Deborah Kerr - Heaven Knows, Mr. Allison - 2 votes

1956
1. Ingrid Bergman - Anastasia - 10 votes
2. Carroll Baker - Baby Doll - 2 votes
2. Nancy Kelly - The Bad Seed - 1 vote
4. Katharine Hepburn - The Rainmaker - 1 vote
4. Deborah Kerr - The King and I - 1 vote

1955
1. Katharine Hepburn - Summertime - 11 votes
2. Anna Magnani - The Rose Tattoo - 4 vote
3. Eleanor Parker - Interrupted Melody - 2 votes
4. Susan Hayward - I'll Cry Tomorrow - 1 vote

1954
1. Judy Garland - A Star Is Born - 14 votes
2. Grace Kelly - The Country Girl - 2 votes
2. Jane Wyman - Magnificent Obsession - 2 votes
4. Audrey Hepburn - Sabrina - 1 vote

1953
1. Audrey Hepburn - Roman Holiday - 10 votes
2. Deborah Kerr - From Here to Eternity - 4 votes
3. Leslie Caron - Lili - 1 vote
3. Ava Gardner - Mogambo - 1 vote

1952
1. Julie Harris - The Member of the Wedding - 5 votes
2. Susan Hayward - With a Song in my Heart - 4 votes
3. Shirley Booth - Come Back, Little Sheba - 3 votes
3. Joan Crawford - Sudden Fear - 3 vote

1951
1. Vivien Leigh - A Streetcar Named Desire - 21 votes
2. Shelley Winters - A Place in the Sun - 3 votes

1950
1. Gloria Swanson - Sunset Blvd. - 14 votes
2. Bette Davis - All About Eve - 10 votes
3. Anne Baxter - All About Eve - 1 vote
3. Eleanor Parker - Caged - 1 vote

1949
1. Olivia de Havilland - The Heiress - 13 votes
2. Deborah Kerr - Edward My Son - 3 votes
3. Susan Hayward - My Foolish Heart - 1 vote
3. Loretta Young - Come to the Stable - 1 vote

1948
1. Jane Wyman - Johnny Belinda - 9 votes
2. Olivia de Havilland - The Snake Pit - 6 votes
3. Barbara Stanwyck - Sorry Wrong Number - 2 vote

1947
1. Rosalind Russell - Mourning Becomes Electra - 5 votes
2. Susan Hayward - Smash Up - 4 votes.
3. Joan Crawford - Possessed - 3 votes
4. Loretta Young - The Farmer's Daughter - 2 votes

1946
1. Celia Johnson - Brief Encounter - 15 votes
2. Olivia de Havilland - To Each His Own - 3 votes
2. Jennifer Jones - Duel in the Sun - 3 votes
4. Jane Wyman - The Yearling - 1 vote

1945
1. Joan Crawford - Mildred Pierce - 8 votes
2. Gene Tierny - Leave Her to Heaven - 6 votes
3. Ingrid Bergman - The Bells of St. Mary's - 4 votes
4. Jennifer Jones - Love Letters - 1 vote

1944
1. Barbara Stanwyck - Double Indemnity - 16 votes
2. Ingrid Bergman - Gaslight - 5 votes

1943
1. Jean Arthur - The More the Merrier - 6 votes
2. Jennifer Jonies - The Song of Bernadette - 4 votes
3. Ingrid Bergman - For Whom the Bell Tolls - 2 vote
3. Joan Fontaine - The Constant Nymph - 1 vote

1942
1. Bette Davis - Now, Voyager - 8 votes
1. Greer Garson - Mrs. Miniver - 7 votes
3. Katharine Hepburn - Woman of the Year - 1 vote

1941
1. Barbara Stanwyck - Ball of Fire - 9 votes
2. Bette Davis - The Little Foxes - 5 votes
3. Olivia de Havilland - Hold Back the Dawn - 1 vote
3. Joan Fontaine - Suspicion - 1 vote

1940
1. Katharine Hepburn - The Philadelphia Story - 10 votes
2. Joan Fontaine - Rebecca - 7 votes
3. Bette Davis - The Letter - 5 votes

1939
1. Vivien Leigh - Gone With the Wind - 24 votes
2. Greta Garbo - Ninotchka - 2 votes

1938
1. Bette Davis - Jezebel - 6 votes
1. Wendy Hiller - Pygmalion - 5 votes
3. Margaret Sullavan - Three Comrades - 3 votes
4. Norma Shearer - Marie Antoinette - 1 vote

1937
1. Irene Dunne - The Awful Truth - 7 votes
2. Greta Garbo - Camille - 6 votes
3. Barbara Stanwyck - Stella Dallas - 2 votes
4. Janet Gaynor - A Star is Born - 1 vote
4. Luise Rainer - The Good Earth - 1 vote

1936
1. Carole Lombard - My Man Godfrey - 11 votes
2. Irene Dunne - Theodora Goes Wild - 1 vote
2. Luise Rainer - The Great Ziegfeld - 1 vote

1935
1. Katharine Hepburn - Alice Adams - 8 votes
2. Claudette Colbert - Private Worlds - 2 votes
2. Bette Davis - Dangerous - 2 votes
4. Miriam Hopkins - Becky Sharp - 1 vote

1934
1. Claudette Colbert - It Happened One Night - 7 votes
2. Bette Davis - Of Human Bondage - 2 vote

1932/33
1. Katharine Hepburn - Morning Glory - 6 votes
2. May Robson - Lady for a Day - 3 votes

1931/32
1. Marie Dressler - Emma - 6 votes
2. Lynn Fontanne - The Guardsman - 1 vote

1930/31
1. Marlene Dietrich - Morocco - 8 votes
2. Marie Dressler - Min and Bill - 1 vote
2. Irene Dunne - Cimarron - 1 vote
2. Norma Shearer - A Free Soul - 1 vote

1929/30
1. Greta Garbo - Anna Christie - 4 votes
2. Norma Shearer - The Divorcee - 2 vote
3. Ruth Chatterton - Sarah and Son - 1 vote
3. Greta Garbo - Romance - 1 vote

1928/29
1. Ruth Chatterton - Madame X - 4 votes
2. Betty Compson - The Barker - 1 vote
2. Jeanne Eagels - The Letter - 1 vote

1927/28
1. Janet Gaynor - Sunrise - 7 votes
2. Janet Gaynor - Seventh Heaven - 3 votes
3. Janet Gaynor - Street Angel - 1 vote

Most Winns:
Katharine Hepburn - 5
Anne Bancroft - 2
Bette Davis - 2
Audrey Hepburn - 2
Vivien Leigh - 2
Rosalind Russell - 2
Barbara Stanwyck - 2
Joanne Woodward - 2

Actual Winners who didn't recieve any vote
28/29. Mary Pickford - Coquette
31/32. Helen Hayes - The Sin of Madelon Claudet
40. Ginger Rogers - Kitty Foyle
50. Judy Holliday - Born Yesterday
Post Reply

Return to “The Damien Bona Memorial Oscar History Thread”