1939--The Year in Review

Famously, in 1939, the cinema floodgates opened wide, particularly in Hollywood. The quality is so high that the period would hence be known as an Everest for the movie industry. Indeed, when you look at the notable 1939 films from all over the world (even the ones I decline to mention), you are dumbfounded. How did all this happen in such confluence? Well, clearly by this time, the relatively new empire of motion pictures had gotten wholly into the swing of things from a production standpoint--the studio machines were finely run by savvy producers and execs willing to be both generous and strident with the wily talent they managed. Meanwhile, on the technical side, the visual and aural aspects of film had been sharpened to degrees both artists and audiences hadn't yet imagined possible, with new strides being made in editing, sound, special effects, makeup, and scoring. Colors and sounds were fully vibrant finally, and of course, it didn't hurt that the biggest, best-sellingest property to ever hit the movie business made its glorious screen debut in December '39, premiering in a big little city called Atlanta. Luckily, David O. Selznick's reluctant obsession ended up being as entertaining and popular as its many fussy, troubled makers wished it to be and it arguably still stands as the romantic historical epic against which all others should be measured (Titanic be damned). Some may balk and posit The Wizard of Oz as the more influential picture, and it's certainly referenced more often in culture than any other cinematic work (even including Star Wars). But I posit that its popular success lies more in the genius programming decision to give it yearly holiday airings on TV (beginning in 1956 on CBS) rather than what's intrinsically great in the film (of which there is much, ever if I personally can't take another viewing of it). For me, it's the wonderful Capra film, with its genuine patriotism and still resonant dark undercurrents, and its powerfully emotional lead performance (indeed, its superb cast all around) that gives Selznick a run for his considerable money. In fact, Mr. Smith Goes to Washington has more to say about life today than any other movie from 1939; it's a heart-pounding drama with real guts and it seems perpetually watchable and relevant for Americans and for a world hungering for truth and justice. As for those who would hold out for Renoir's The Rules of the Game as 1939's crown jewel? I recognize its importance, but I'm ashamed to say I'm still slightly bored by the film (France's heyday in cinema would arrive much later). However, I would hear arguments for John Ford's driving, massively influential western Stagecoach as being the best of this mightily impressive year. BONUS: In the shorts categories, The Three Stooges finally stumble to the head of the line!  NOTE: These are MY choices for each category, and they are in no way reflective of the choices made by the Oscars.

PICTURE: GONE WITH THE WIND (US, Victor Fleming, Sam Wood, George Cukor)
(2nd: Mr. Smith Goes to Washington (US, Frank Capra), followed by:
The Wizard of Oz (US, Victor Fleming, King Vidor)
Stagecoach (US, John Ford)
Wuthering Heights (US, William Wyler)
The Women (US, George Cukor)
Young Mr Lincoln (US, John Ford)
Gunga Din (US, George Stevens)
The Rules of the Game (France, Jean Renoir)
Ninotchka (US. Ernst Lubitsch)
Only Angels Have Wings (US, Howard Hawks)
Babes in Arms (US, Busby Berkeley)
Goodbye Mr. Chips (UK, Sam Wood)
The Hunchback of Notre Dame (US, William Dieterle)
Dark Victory (US, Edmund Goulding);
The Roaring Twenties (US, Anatole Litvak and Raoul Walsh)
Beau Geste (US, William A. Wellman)
The Adventures of Sherlock Holmes (US, Alfred Werker)
Drums Along the Mohawk (US, John Ford)
The Four Feathers (UK, Zoltan Korda)
Intermezzo (US, Gregory Ratoff)
Love Affair (US, Leo McCarey)
The Rains Came (US, Clarence Brown)
Destry Rides Again (US, George Marshall)
The Hound of the Baskervilles (US, Sidney Lanfield)
The Man in the Iron Mask (US, James Whale)
The Little Princess (US, Walter Lang))

ACTOR: James Stewart, MR. SMITH GOES TO WASHINGTON (2nd: Clark Gable, Gone with the Wind, followed by: Robert Donat, Goodbye Mr. Chips; Charles Laughton, The Hunchback of Notre Dame; Laurence Olivier, Wuthering Heights; Mickey Rooney, Babes in Arms; Henry Fonda, Young Mr Lincoln; Basil Rathbone, The Adventures of Sherlock Holmes)



ACTRESS: Vivien Leigh, GONE WITH THE WIND (2nd: Greta Garbo, Ninotchka, followed by: Jean Arthur, Mr. Smith Goes to Washington; Ingrid Bergman, Intermezzo; Bette Davis, Dark Victory; Judy Garland, The Wizard of Oz; Merle Oberon, Wuthering Heights; Irene Dunne, Love Affair; Rosalind Russell, The Women; Marlene Dietrich, Destry Rides Again)

SUPPORTING ACTOR: Thomas Mitchell, STAGECOACH (as well as Mr. Smith Goes to Washington, Gone With the Wind and Only Angels Have Wings--one of the most productive years any actor has ever enjoyed) (2nd: Harry Carey, Mr. Smith Goes to Washington, followed by: Burt Lahr, The Wizard of Oz; Claude Rains, Mr. Smith Goes to Washington; Sam Jaffe, Gunga Din; Ray Bolger, The Wizard of Oz; C. Aubrey Smith, The Four Feathers; Brian Donlevy, Beau Geste)

SUPPORTING ACTRESS: Hattie McDaniel, GONE WITH THE WIND (2nd: Margaret Hamilton, The Wizard of Oz, followed by: Olivia de Havilland, Gone With the Wind; Geraldine Fitzgerald, Wuthering Heights; Maria Ouspenskaya, Love Affair; Billie Burke, The Wizard of Oz; Gale Sondergaard, The Cat and the Canary; Edna May Oliver, Drums Along the Mohawk) 

DIRECTOR: Victor Fleming, GONE WITH THE WIND (2nd: Frank Capra, Mr. Smith Goes to Washington, followed by: John Ford, Stagecoach; Jean Renoir, The Rules of the Game; Victor Fleming and King Vidor, The Wizard of Oz; William Wyler, Wuthering Heights; Ernst Lubitsch, Ninotchka; George Cukor, The Women; Busby Berkeley, Babes in Arms)

ORIGINAL SCREENPLAY: Sidney Buchman and Lewis R. Foster, MR. SMITH GOES TO WASHINGTON (2nd: Dudley Nichols and Ernest Haycox, Stagecoach, followed by: Jean Renoir and Carl Koch, The Rules of the Game; Charles Brackett, Billy Wilder, Walter Reisch and Melchior Lengyel, Ninochka; Marc Hellinger, Robert Rossen, Rixhard Macauley and Jerry Wald, The Roaring Twenties)

ADAPTED SCREENPLAY: Sidney Howard, GONE WITH THE WIND (2nd: Anita Loos and Jane Murfin, The Women, followed by: Charles MacAuthur and Ben Hecht, Wuthering Heights; Noel Langley, Florence Ryerson, and Edgar Allen Woolf, The Wizard of Oz; Joel Sayre, Fred Guiol, Ben Hecht and Charles McArthur, Gunga Din)

LIVE ACTION SHORT FILM: OILY TO BED, OILY TO RISE (Jules White; The Three Stooges) (2nd: The City (Ralph Steiner and Willard Van Dyke), followed by: We Want Our Mummy (Del Lord; The Three Stooges); Radio Hams (Felix. E. Feist and Pete Smith))



ANIMATED SHORT FILM: THE UGLY DUCKLING (Jack Cutting and Walt Disney) (2nd: Detouring America (Tex Avery), followed by: The Pointer (Clyde Geronimi and Walt Disney); Thugs with Dirty Mugs (Tex Avery); A Day at the Zoo (Tex Avery))

CINEMATOGRAPHY: Ernest Haller and Lee Garmes, GONE WITH THE WIND (2nd: Gregg Toland, Wuthering Heights, followed by: Bert Glennon, Stagecoach; Harold Rosson, The Wizard of Oz; Bert Glennon and Ray Rennahan, Drums Along the Mohawk) 

ART DIRECTION: THE WIZARD OF OZ, Gone With the Wind, Son of Frankenstein, Mr. Smith Goes to Washington, The Private Lives of Elizabeth and Essex

COSTUME DESIGN: GONE WITH THE WIND, The Wizard of Oz, The Women, The Private Lives of Elizabeth and Essex, Wuthering Heights



FILM EDITING: STAGECOACH, Gone With the Wind, Mr. Smith Goes to Washington, The Wizard of Oz, The Rains Came

SOUND: MR. SMITH GOES TO WASHINGTON, Gone With The Wind, The Rains Came, The Wizard of Oz, Goodbye Mr. Chips

ORIGINAL SCORE: Max Steiner, GONE WITH THE WIND (2nd: Herbert Stothart, The Wizard of Oz, followed by: Dimitri Tiomkin, Mr. Smith Goes to Washington; Aaron Copland, Of Mice and Men; Erich Wolfgang Korngold, The Private Lives of Elizabeth and Essex; Alfred Newman, Wuthering Heights; Miklós Rózsa, The Four Feathers; Max Steiner, Dark Victory; Victor Young, Gulliver's Travels)

ORIGINAL SONG: "Over the Rainbow" from THE WIZARD OF OZ (music by Harold Arlen, lyrics by E.Y. Harberg) (2nd: "Lydia The Tattooed Lady" from At The Circus (music by Harold Arlen, lyrics by E.Y. Harberg), followed by: "Ding Dong The Witch is Dead" from The Wizard of Oz (music by Harold Arlen, lyrics by E.Y. Harberg); "If I Only Had a Brain" from The Wizard of Oz (music by Harold Arlen, lyrics by E.Y. Harberg); "The Boys in the Back Room" from Destry Rides Again (music by Frederick Hollender, lyrics by Frank Loesser); "Wishing" from Love Affair (music and lyrics by Buddy da Sylva))

MAKEUP: THE WIZARD OF OZ, The Hunchback of Notre Dame, Gone With the Wind

SPECIAL EFFECTS: THE RAINS CAME, The Wizard of Oz, Gone with the Wind 

GONE WITH THE WIND and its premiere: 1939, downtown Atlanta.

See it...LIVE it. This is amateur filmmaker Russell Bellman's recently discovered Kodachrome 16mm footage of the premiere of what is still, adjusted for inflation, the biggest-grossing movie of all time. This footage (minus the Erik Satie soundtrack) needs to be in admitted in the National Film Registry's archives. I don't think it has been yet. This monumental event occurred within a 3-minute train ride of where I live now, and was a seminal note in the life of a city I call home. It is also such a note in the life of this country and this medium I love. Looking at it now, it somehow seems it could have happened yesterday. But this is the effect of film. Or is it merely a truism of time? In the larger scheme of things, I suppose 80 years ago IS yesterday...

Cinema Gallery: 200 MORE Movie Images: DARKNESS (Part 3 of 5)

I have to admit: I love a blackened frame. These are some of my favorite hard-to-see moments from movies. I think I love the dark on film because that's where we can catch the most abstract images, if only for a brief moment. By the way, I just want to be clear: these are actual frame grabs and, in that way, they are completely unique. I say this only because these image-only posts of mine might seem slight, but they actually take me MUCH longer to compose than any literary efforts I make on this site. In other words, this stuff ain't easy, guys. Anyway, click on the images to see them in their fullness.

Miss Lowell is banked by a coupla goons in The Big Combo. (Joseph H. Lewis, 55)

Loretta Lynn (Patrick Flynn) singing "You Ain't Woman Enough (To Take My Man)," from Coal Miner's Daughter 2. (Patrick Flynn, 94)

The Bride sends one of the Crazy 88s to the blood-spattered floor in Kill Bill (Volume One). (Quentin Tarentino, 2003)

Rooftop fight from The Racket. (John Cromwell et al., 51)

Meshes of the Afternoon. (Maya Deren, 43)

Mike Hammer makes a foe's switchblade drop in Kiss Me, Deadly. (Robert Aldrich, 55)

The hidden gun. Dog Day Afternoon. (Sidney Lumet, 76)

Dead man walking in The Man Who Was Not There. (Joel and Ethan Coen, 2001)

Stalking. Made in Britain. (Alan Clarke, 82)

A flashlight barely sheds light on the case of The Thin Man. (W.S. Van Dyke, 34)

Cliff Robertson in Obsession. (Brian De Palma, 76)

Just one mighty hiss scares the bad guys away in Pee-Wee's Big Adventure. (Tim Burton, 85)

Daniel Plainview, squenched while baptized in oil, as his partner drowns in the stuff. There Will Be Blood. (Paul Thomas Anderson, 2007)

Illusion. Black Ice. (Stan Brakhage, 94)

Talking and working, down in The Hole. (John and Faith Hubley, 62)

Jesse assures an untrustworthy friend is dead in The Assassination of Jesse James by the Coward Robert Ford. (Andrew Dominick, 2007)

A frug, starring Sal Mineo, from Who Killed Teddy Bear? (Joseph Cates, 65)

Sidney Falco recognizes his complicity in evil. Sweet Smell of Success. (Alexander Mackendrick, 57)
 The opening image from Star Wars. (George Lucas, 77)

Richard Pryor Live on the Sunset Strip. (Joe Layton, 82)

Her daughter points towards Heaven in The Rapture. (Michael Tolkin, 91)

The title character cries and prays for her mother's return in Ponette. (Jacques Doillon, 96)

Safe as a church. Point Blank (John Boorman, 67)

Salina, left alone by the tree for the night in A Patch of Blue. (Guy Green, 65)

The daughter comes alive again--sort of--in Night of the Living Dead. (George A. Romero, 68)

Eve's preparation for suicide in Interiors. (Woody Allen, 78)

Pip runs right home at the beginning of Great Expectations. (David Lean, 46)

"Go ahead, Melly. Scream all you want." Gone With The Wind. (Victor Fleming et al., 39)

"Come on out, you bastard." Barbara Hershey, brave and resplendent, in The Entity. (Sidney J. Furie, 81)

A black man struggles for survival in the white man's army. The Dirty Dozen. (Robert Aldrich, 67)

Daniel watches his biggest mistake in Defending Your Life. (Albert Brooks, 90)

As Cool Hand Luke is whipped out in the yard, his fans and fellow prisoners respond. (Stuart Rosenberg, 67)

The fat man steps outside in the rain for a shower in Carny. (Robert Kaylor, 80)

Max Cady as upside-down, inside-out, black-is-white horror in Cape Fear. (Martin Scorsese, 91)

Boris Karloff in Black Sabbath. (Mario Bava, Salvatore Billitteri, 64)

A general (Sam Shepard) ponders his next move in Black Hawk Down. (Ridley Scott, 2001)

A high for Charlie Parker (played by Forrest Whittaker) in Bird. (Clint Eastwood, 88)

Hal Holbrook as Deep Throat in All The President's Men. (Alan J. Pakula, 76)

Modern man touches the future. 2001: A Space Odyssey. (Stanley Kubrick, 68)

John Doe's most intimate thoughts, in black and white, from Seven. (David Fincher, 95)