1948 Oscar Viewing Project

I put this on Twitter, but one of my goals going forward is to have at least one Oscar Viewing Project ballot or one Oscar My Ballot each month until I have finished the project.  Because I just finished being on vacation (I was in Florida, having a blast in DisneyWorld), we're going to actually get a couple of these this month, both from 2024 in a few weeks AND from 1948 today.  Yes, I have officially seen all of the nominated films of 1948, and thus we are going to discuss the movies of this year.  We generally start with a look at the box office from a given year, but I will note that pre-1980 box office numbers are hard to find accurately, as it wasn't as consistently reported in trade papers before then.  Additionally, certain types of films (like, say, Disney films) tend to have been re-released in theaters more frequently than others (hence how movies that were considered flops initially like Bambi would eventually end up in the black).  That said, this is what Wikipedia has for the top domestic grossers of 1948, so we'll use it as a jumping off point (with a grain of salt):

1. The Red Shoes

2. Red River

3. The Paleface

4. Johnny Belinda

5. Easter Parade

6. The Three Musketeers

7. The Snake Pit

8. The Emperor Waltz

9. Homecoming

10. Sitting Pretty

As you'll see below, Oscar didn't start taking a really big detour from what was popular with audiences until the 1990's, as 9/10 of these movies are ones I not only saw, but would've seen in connection with the OVP, the sole exception being Homecoming with Lana Turner & Clark Gable (which I'll see for the My Ballot that year).  Other top grossers that year that sometimes are listed on the Top 10 include Sorry, Wrong Number with Barbara Stanwyck, Yellow Sky (which I have seen despite no nominations because I love westerns) with Gregory Peck, and A Date with Judy starring a young Elizabeth Taylor.  As you can see, Oscar wanted to embrace what was popular, particularly in a year of upheaval for Hollywood, as the theatrical monopolies had ended, and 1948 was a weak year at the box office.  With that context, I want you to go back to a different time, to a time of Truman defeating Dewey, of the creation of both Israel and the frisbee.  And of course, let's remember the movies...

Note from John: When I did this series during the time when I wrote individual articles, and had this blog be a daily part of my life, I made a point of highlighting each nominee in my many write-ups.  While I will be writing these every time I complete a year (like I said above, hopefully monthly going forward), I can't make that time commitment, either in terms of number of articles or in terms of giving each nominee their due with a mention, anymore.  I promise, though, that I have given each nominee their due under the confines of the specific category while making my rankings (and of course I've seen every single nominated picture discussed below), including giving higher rankings to movies I didn't like if the craft was better than ones I did like (Oscar should consider that).  Hopefully you enjoy the trimmed-down, but still devoted to the original concept version of the OVP we'll have going forward!

Picture

1. The Red Shoes

2. The Treasure of the Sierra Madre

3. Hamlet

4. The Snake Pit

5. Johnny Belinda

The Lowdown: I actually did a podcast devoted to this specific topic (if you go to the Gilded Films podcast site, you can find both of their episodes on 1948, as I'm the guest on both of them) so feel free to listen if you want a voice reveal (and some great convo on this contest).  For me, it's not a difficult decision on the winner here.  The Red Shoes is just on another level.  There are really good movies here (honestly-there is no bad movie in this quintet, though I do frequently have to re-remind myself that I like Johnny Belinda as Oscar liked it way more than me), but the sheer modern scale of The Red Shoes here is unbeatable, besting worthy defenders like The Treasure of the Sierra Madre and Hamlet.

Director

1. John Huston (The Treasure of the Sierra Madre)

2. Laurence Olivier (Hamlet)

3. Anatole Litvak (The Snake Pit)

4. Jean Negulesco (Johnny Belinda)

5. Fred Zinnemann (The Search)

The Lowdown: With The Red Shoes out of the race, I've got a much closer contest, pitting John Huston & Laurence Olivier for the top spot against each other, much like in real life (weirdly, both were directing themselves, as both of their pictures in the collage are from them acting in their movies, though Olivier was the lead while Huston had a bit cameo).  I actually like Olivier's Hamlet more than most modern critics, as I think it's moody and just a little bit creepy (it's easy to see how the Coen Brothers were inspired by this when they did their telling of Macbeth), but Treasure of the Sierra Madre is one of those movies it's impossible to deny Huston's impact, giving us a perfect decrescendo into hell with Humphrey Bogart.  Kudos also to Antaole Litvak who also had a lot of modern touches (rare for a social issues picture) in The Snake Pit.

Actor

1. Laurence Olivier (Hamlet)

2. Montgomery Clift (The Search)

3. Clifton Webb (Sitting Pretty)

4. Lew Ayres (Johnny Belinda)

5. Dan Dailey (When My Baby Smiles at Me)

The Lowdown: Bogart's snub in 1948 was a big deal, some calling it the biggest of its kind since Bette Davis was looked over for Of Human Bondage in 1934.  It's insane, given how good he is (he'll be on my My Ballot for this year) that he was missed, but looking at just Oscar's choices, I'm going with the same selection as the Academy, giving Laurence Olivier (an actor I am very hit-or-miss with) a pretty easy victory.  Olivier might be too old for this part, but he leans in really well with the uncomfortable Oedipal overtones that Shakespeare provides his prince for his mother Gertrude, and while Clifton Webb is delicious & Monty Clift has a terrific star-is-born turn, this is a case of an actor's "time" also being for some of his best work.  I will also say that Dan Dailey getting Humphrey Bogart's nomination here is both perplexing (like...why?) and bordering on a war crime he's so bad.

Actress

1. Olivia de Havilland (The Snake Pit)

2. Barbara Stanwyck (Sorry, Wrong Number)

3. Jane Wyman (Johnny Belinda)

4. Irene Dunne (I Remember Mama)

5. Ingrid Bergman (Joan of Arc)

The Lowdown: No one is as bad as Dan Dailey of the 20 nominations (an embarrassingly terrible performance), but Best Actress is not a great lineup compared to the guys despite having generally better actors.  Irene Dunne is playing I Remember Mama like she's channeling Loretta Young (not a compliment), and Ingrid Bergman once again proves that for one of the best actresses of her generation, Oscar nominated her for the wrong roles.  The win is between de Havilland, whose really raw performance adds to The Snake Pit's accuracy-to-life, and Barbara Stanwyck as a truly vicious femme fatale who totally nails the film's rough ending.  Stanwyck is the opposite of Bergman (she tended to get nominated for her best work, this being the least of her four nominated turns but still solid), but I'm going with de Havilland given she provides more accuracy.  Jane Wyman, the actual winner, uses physicality well in her role but doesn't add enough beyond being great casting given her giant saucer eyes are so crucial to filling in gaps in the underwritten plot.

Supporting Actor

1. Walter Huston (The Treasure of the Sierra Madre)

2. Charles Bickford (Johnny Belinda)

3. Cecil Kellaway (The Luck of the Irish)

4. Jose Ferrer (Joan of Arc)

5. Oscar Homolka (I Remember Mama)

The Lowdown: Both of the supporting turns I'm going with the actual Oscar winner, and while I'm usually cognizant that I have a bias toward the actual victors (because, unlike the 2000's & 2010's, the winners here have been the "winners" my whole life), unlike Olivier (where Clift or Webb would make acceptable victors), the supporting winners are heads-and-shoulders above the rest (again, both will make my My Ballot list).  Huston's turn as a weathered gold miner is so calculating, and filled with such meaningful backstory in the way he portrays it, I wish that he'd worked with his son on ten more pictures.  The only thing that comes close to it is Charles Bickford's concerned father in Johnny Belinda, but even there it's not close to what Huston is bringing to a better movie.

Supporting Actress

1. Claire Trevor (Key Largo)

2. Agnes Moorehead (Johnny Belinda)

3. Barbara bel Geddes (I Remember Mama)

4. Ellen Corby (I Remember Mama)

5. Jean Simmons (Hamlet)

The Lowdown: Finishing out the acting races is Claire Trevor.  Trevor is one of those actresses who rarely played leading roles despite leading lady beauty, but she was also better suited for character work, as she understood the assignment in westerns & noir.  In Key Largo, she gets one really critical scene where she belts out a torch song to her own humiliation (it's a hard scene to watch, but it makes the movie), but she's good throughout.  No one else is in the same hemisphere as her.  Even second place Agnes Moorhead (not as good as Bickford, despite being a more reliable actor otherwise) is only in second because I didn't have anywhere else to turn and I like her as a rule.  This is all Trevor.

Motion Picture Story

1. The Red Shoes

2. Red River

3. The Naked City

4. The Search

5. Louisiana Story

The Lowdown: A quick reminder that Motion Picture Story is technically about the concept of the movie, which is a writing gift, but it's not (for example) about the specific dialogue in the picture.  This helps a movie like The Naked City, which is really better as an idea than a picture itself (though I liked it), but I have to dock points for something like Louisiana Story, whose almost documentary-like naturalism gets in the way of the actual tale it's attempting (or is it...this is a weird movie, speak up if you've seen it in the comments).  My top prize goes to The Red Shoes, which is really gifted in the way it uses its romances almost as a red herring, over Red River (which, conversely, uses its ambition as a red herring to cover some of its romances).

Screenplay

1. The Treasure of the Sierra Madre

2. The Snake Pit

3. The Search

4. A Foreign Affair

5. Johnny Belinda

The Lowdown: 1948 is the most recent year where the Screenplay categories were not split out between adapted & original screenplay, and so we have four adapted films against the original The Search.  I actually wish I could give this to The Snake Pit, because it's the sort of picture that Oscar generally loves and I generally don't (social issue pictures are not my jam), but it's done so well I could actually find some common ground between us...but in this case both Oscar & I are siding with the work of John Huston in The Treasure of the Sierra Madre, one of the truly great studio film screenplays of the era (no notes-even the Hays Code couldn't ruin this one).

Score

1. The Red Shoes

2. Hamlet

3. Johnny Belinda

4. The Snake Pit

5. Joan of Arc

The Lowdown: Movies are rarely gusty enough to do what The Red Shoes does with its score.  Look at a film like Tar, for example, which is about classical music and thus uses actual classical music throughout the picture to instruct that.  But The Red Shoes literally spends so much time talking about how it is written for a classic ballet, but instead of Tchaikovsky or Prokofiev, it's literally original music.  The chutzpah...and that they land it, making it sound like a genuine classic...it's impossible to deny, though the moodiness of Hamlet or the windswept grandeur of Johnny Belinda both would've made fine wins (this is the best of the many Johnny Belinda nominations, and the one that I'll come closest to duplicating with my My Ballot even though I won't actually).

Scoring

1. Easter Parade

2. Romance on the High Seas

3. The Pirate

4. The Emperor Waltz

5. When My Baby Smiles at Me

The Lowdown: Similar to Motion Picture Story, I'm not entirely sure how to grade this, and it's more difficult as we'll actually have this for the My Ballot for 1948 (we will not do the same for Motion Picture Story).  But I'm going to look at this as the best overall musical in terms of the way it's staged, sung, & conducted in the picture itself (with perhaps a bonus point or two for truly original song scores).  With that in mind, you can't really beat Easter Parade, with Judy & Fred sounding lovely, particularly with him taking on "Steppin' Out With My Baby" and our first real Ann Miller MGM musical.  Romance on the High Seas benefits from a young Doris Day, and The Pirate has a beautiful choreography from Gene Kelly, but neither are as good as what Easter Parade is achieving.

Original Song

1. "It's Magic" (Romance on the High Seas)

2. "Buttons and Bows" (The Paleface)

3. "The Woody Woodpecker Song" (Wet Blanket Policy)

4. "For Every Man There's a Woman" (Casbah)

5. "This Moment is Magic" (That Lady in Ermine)

The Lowdown: Yes, for those who grew up watching his cartoons, the title song from Woody Woodpecker performed by the Kay Kyser Orchestra, was Oscar-nominated (the only time in the history of the Best Original Song category where a short film was nominated).  But while it's a cute little ditty, I have to go with "It's Magic" as it does a really incredible job of establishing Doris Day as a star in the picture.  "Buttons and Bows" is also a standard, but it has less to do with the success of the film (and let's be honest, is more of a standard than a classic, if that makes sense).

Sound

1. Moonrise

2. The Snake Pit

3. Johnny Belinda

The Lowdown: One of the big reasons that the Oscar Viewing Project will take me so long is that, just a few years earlier, the Sound categories were popping out a dozen or so nominees each year, and then by 1948 they randomly became only a three-wide affair.  The quality here is better, though, with only a trio of nominees, and gives us the single finest "hidden gem" nomination of this bunch: Moonrise.  Moonrise is a dynamite picture (if you've never seen it, please add it to your Letterboxd Watchlist as it's masterful), and it's also a cool nomination.  The film features one song moment (though it's not a musical one), that is executed perfectly, and it also works really well with the circus motif to create strong background noise to heighten tension.  Oscar gave the statue to the also solidly authentic work in The Snake Pit, but for me it's all about Moonrise.

Art Direction - Black & White

1. Hamlet

2. Johnny Belinda

The Lowdown: For the record, we will not be separating between Black & White and Color for my My Ballot's (though we will have five nominees, so for this at least we'll have more than Oscar).  The win here is easy for me-Olivier's Hamlet is a really cool combination of stage play and realism (again, much like the Coen Brothers' lauded turn with Macbeth), and totally upstages anything that is done in Johnny Belinda.  Honestly, the real credit from staging in Johnny Belinda is believably making California look like Prince Edward Island (if there was an Oscar for location scouting...this is the one it should've won).

Art Direction - Color

1. The Red Shoes

2. Joan of Arc

The Lowdown: Both very worthy nominees (say what you will about the end product of Joan of Arc, it surely looks terrific), but much like Moira Shearer, I cannot deny The Red Shoes.  Even the title cards for the movie are crafted to match the set, as if they are somehow part of the movie itself, everything so careful, beautiful, and deliberate.

Cinematography - Black & White

1. A Foreign Affair

2. Johnny Belinda

3. The Naked City

4. Portrait of Jennie

5. I Remember Mama

The Lowdown: Back to the arbitrarily chosen nominee count, Oscar went with the naturalism of The Naked City, which is understandable.  Shot entirely on location in New York, the movie uses real life so well it's hard not to fall for the gimmick (this is one of the hardest My Ballot quintets I'll have ever had to assemble, for the record, as I don't know that any of these will end up on it, and normally the Top 3 would be gimme choices).  I'm instead going to pick the naturalism on display in A Foreign Affair to reward, where Marlene Dietrich is shot in actual war-torn Berlin as if she was back with von Sternberg (compliment).  At some point someone needs to explain to me how I Remember Mama got a nomination in this category when much better options existed (hell, if you just stick to movies Oscar was already watching, you have Moonrise or The Snake Pit right there!).

Cinematography - Color

1. Joan of Arc

2. The Three Musketeers

3. Green Grass of Wyoming

4. The Loves of Carmen

The Lowdown: There's literally room for one more nomination, and in one of those situations where I have to assume there was a paperwork mistake (like Roddy McDowall accidentally going lead for Cleopatra), The Red Shoes was cut from this, which it definitely should've won.  With that out of the way, I have a moment to honor its competitor Joan of Arc, though honestly not by much-this is not just the best lineup of this list, it's also one of the best lineups I've seen Oscar assemble during the Classical Hollywood era...every single one of these I gave 4/5 stars in my personal rankings (which is hard to get as I grade on a curve).  Even The Loves of Carmen in last place has a wonderfully vibrant motif (and Rita Hayworth has rarely looked so lovely).

Costume - Black & White

1. Hamlet

2. B.F.'s Daughter

The Lowdown: Despite costumes being in movies since the dawn of time, it took until 1948 for the Academy to bother rewarding the men & women who made them (this is the first year of the category).  For Black & White, I will go with Hamlet, which gives us not just lovely frocks for Jean Simmons to prance about in, but we also get some attention-to-detail loveliness in the menswear (guys like wearing pretty things too).  BF's Daughter gets nominated almost entirely for a stunning white-and-gold dress that Barbara Stanwyck wears about halfway through (hopefully this link works, but you can see it here) which is breathtaking...but nothing else in the movie compares so it can't really be on the same level as Hamlet.

Costume - Color

1. Joan of Arc

2. The Emperor Waltz

The Lowdown: Similar to how we constantly talk about John Williams in Best Score and whether or not I'm giving him another Oscar (he was nominated so often), we'll be doing the same for Edith Head.  In our second profiled year of Head's 35 competitive nominations (we did 1957 here) Head won, but while I was intoxicated by Joan Fontaine's glorious green dress with matching hat in The Emperor Waltz, it was the only look that really stood out to me, and so I'm more inclined to the many armored outfits of Ingrid Bergman wore in Joan of Arc instead.

Film Editing

1. The Red Shoes

2. Red River

3. The Naked City

4. Johnny Belinda

5. Joan of Arc

The Lowdown: Fun fact-The Red Shoes will not be sweeping the My Ballot awards in the way you're thinking right now because, well, there are a lot of really good movies in 1948 that Oscar chose to ignore that I'll get into.  But I cannot deny with this specific lineup that the Powell & Pressburger film shouldn't take the cake.  The way that the ballets are structured and shot, jumping the line between reality and fiction, are made in the editors' room, even against solid naturalism in The Naked City and the gigantic cattle drives of Red River.

Special Effects

1. Portrait of Jennie

2. Deep Waters

The Lowdown: The early years of the special effects categories are odd because while effects have always been a part of the movies, that doesn't mean that they were as common as they are now (where even crowd work in a rom-com is likely done at a computer).  Portrait of Jennie takes out Deep Waters both because Deep Waters doesn't really have a lot of effects to champion (just a gigantic storm sequence late in the picture), and because of the way it uses the film's cinematography as a tool with the color lensing in the water effects at the end of the movie to give us an ethereal beauty.

OVP: When Tomorrow Comes (1939)

Film: When Tomorrow Comes (1939)

Stars: Irene Dunne, Charles Boyer, Barbara O'Neil

Director: John M. Stahl

Oscar History: 1 nomination/1 win (Best Sound Recording*)

Snap Judgment Ranking: 3/5 stars

The list of films that beat Gone with the Wind at the Oscars is short.  The film, considered by many to be the definition of a Classical Hollywood film, was nominated for 13 Academy Awards, winning eight, though one of those losses was against itself (in Supporting Actress, Hattie McDaniel beat Olivia de Havilland).  The list of films that beat it include classics like Goodbye Mr. Chips and The Wizard of Oz, but it also includes When Tomorrow Comes, a movie that I'd never really heard of before I noticed it leaving Criterion Streaming (if you wanna catch it, get there by the end of the month!) & that it was on my OVP "tough to find films" list.  As a result, I wanted to see who the film was that could possibly beat the landmark epic for an Oscar, and while I come away enjoying the picture, I more so come away confused.

(Spoilers Ahead) The film is really two halves of a movie, as the film plays around quite a bit with genre.  The first half has Helen (Dunne), a waitress who is part of a group of striking servers demanding their due (right on!) meeting Philip (Boyer), a man she initially thinks is a spy from management but turns out to be a man who is smitten with her.  They get to know each other, and after one night (in which they scandalously spend the night together, chastely, in a church) they have fallen in love.  It turns out, though, that Philip is married to Madeleine (O'Neil), a woman who suffers from some sort of depression, and relies on Philip to keep her from spiraling.  Madeleine warns Helen off from her husband, or from Helen being his mistress, and despite the fact that she loves him, she knows she cannot breakup this marriage & look herself in the mirror.  The two refuse to say goodbye, instead simply saying "I'll see you in a bit" when Philip leaves for a flight, knowing that they likely will never see each other again.

Dunne & Boyer had earlier in 1939 made the classic Love Affair, so audiences were desperate to see more, and so this movie made sense as they'd shown they had chemistry.  If you read this blog often, you'll know I have divergent opinions on these two actors-Irene Dunne is almost always a treat, owning the screen, while I find Boyer's overwrought romance too hammy & done.  This is not quite the case for When Tomorrow Comes.  I don't like Boyer in this, but there are times he works with the film, perhaps just as well as Dunne, especially after it has a strange shift from screwball romantic comedy (complete with clumsy waitresses on a picket line!) into deep melodrama.  The film itself gave me whiplash-the shift in tones is too much, but both tones are good so I'm going with 3 stars as I liked it in spite of its clear technical flaws.

The film's Oscar win is a mystery to me, though.  Honestly-it's not a case of me not caring for the movie's sound, it's more that there is nothing specific about the sound work in the movie that caught my ear. I'm assuming it won for the hurricane scenes, but they're playing off-screen for the large part, and they are not anything different than what we'd seen in other films with large-scale storm sequences.  Boyer plays a piano player (sometimes they like musically-inclined films in this category), but he barely touches the keys the whole movie.  That this won over not just Gone with the Wind's burning of Atlanta, but also Mr. Smith's long filibuster & the bells of Notre Dame is one of the bigger Oscar mysteries I've come across in a while.

OVP: Penny Serenade (1941)

Film: Penny Serenade (1941)
Stars: Irene Dunne, Cary Grant, Beulah Bondi, Edgar Buchanan
Director: George Stevens
Oscar History: 1 nomination (Best Actor-Cary Grant)
Snap Judgment Ranking: 2/5 stars

Cary Grant is an unusual star if you just look at his career from the lens of Oscar.  Grant is a true movie star, absolutely one of the best and longest-lasting stars of Classical Hollywood, running from the early sound films (in his work with Mae West & Marlene Dietrich) to being a posh romantic comedy star in the 1930's & 40's to his stint with Alfred Hitchcock reaching into the late 1950's.  His Hollywood classics list is unrivaled by pretty much anyone: The Awful Truth, Bringing Up Baby, His Girl Friday, The Philadelphia Story, Notorious, North by Northwest,...brilliant movie after brilliant movie.  Yet when it comes to Oscar, he received only two nominations, and they were for none of these films, but in fact two little-remembered (by comparison) dramas of the era, 1944's None But the Lonely Heart and today's film 1941's Penny Serenade.

(Spoilers Ahead) The movie starts out as something of a light romance between Julie (Dunne) and Roger (Grant), both of whom meet by chance (Julie is a salesgirl in a record shop, Roger buys a record from her even though he doesn't have a record player), and they fall fast in love.  When they are married, though, they understand the complications that come with this as Roger's career flounders (and Julie doesn't know how to teach him to be more sensible with his money), and then an earthquake destroys their home, causing Julie to miscarry and then become infertile.  The remainder of the movie is centered around their struggles with adopting, particularly as a couple with money troubles, who fight for their adopted daughter Trina to stay in their home.

The movie, despite starring two of the great rom-com stars of the era, isn't a comedy or even that much of a "romantic" romance.  This is a straight-up melodrama, and one with a lot of sad twists.  Not only does Julie lose her first baby during the earthquake, but she & Roger are forced to give up their second child because Roger lost his job, a decision Roger eventually pleads with the judge to reverse...and then Trina still ends up dying as a young girl from a sudden illness.  The family goes through hell before eventually adopting an infant boy, willing to give their relationship & parenting another go, and the film is supposed to have a happy ending, but this film toes the line between melodrama and abject cruelty to the poor leads, and despite loving other work from these actors in the past, I couldn't get beyond this even when their movie star charisma finds ways to shine.

Grant likely won his Oscar nomination for two reasons-the first is the courtroom scene, as he's atypically dramatic, and Oscar is impressed when comedians try drama, and second, he had missed for his glorious work in The Philadelphia Story the year before, when his costars Katharine Hepburn, James Stewart, & Ruth Hussey all were cited (Stewart even won).  The problem with this nomination is that Grant is one of those actors who views drama as monochromatic, and his flare in these scenes isn't what it is in his comedic work; the courtroom scene is impossible not to watch and wonder what, say, Henry Fonda could have done with it.  Additionally, he plays Roger with too many swings in his character; honestly, though it's not remotely as showy of a part, Irene Dunne is considerably better than Grant in the world of a straight drama.  While Grant might well have won my Oscar for The Philadelphia Story (he's better than Stewart), I can't count past snubs when considering the OVP, so I don't suspect Grant, one of my favorite actors, will do too well at his first Best Actor race when we get to it.

OVP: A Guy Named Joe (1943)

Film: A Guy Named Joe (1943)
Stars: Spencer Tracy, Irene Dunne, Van Johnson, Ward Bond, James Gleason, Lionel Barrymore, Esther Williams
Director: Victor Fleming
Oscar History: 1 nomination (Best Original Story)
Snap Judgment Ranking: 2/5 stars

Sometimes a film is more about the backstory, at least a classic one is, for me.  While A Guy Named Joe made it onto my viewing docket mostly because it was nominated for an Academy Award, my familiarity with it was not in regard to it randomly losing a trophy to Going My Way, but instead due to some of the behind-the-scenes tension that it elicited, particularly the famed car accident involving Van Johnson that caused a delay in the film's production (a delay which helped launch Van Johnson's career as he was a newbie at the time and the studio wanted to replace him-when Spencer Tracy said no, Johnson got to keep the part and became a headliner as a result of this film) and the famed feud between Spencer Tracy and Irene Dunne (who adamantly disliked each other).  The actual film itself isn't nearly as interesting as the stories behind it, in fact, though it does keep an air of mystery that's rare in a romantic drama over what direction the ending will head.

(Spoilers Ahead) I think what made me dislike the film is that the movie is predicated in large part on who "owns" Irene Dunne's heart, and while this is true of a lot of romantic triangles (in fact, it's the basis of all of them), I really didn't like Tracy or Johnson's characters, and that's crucial to the plot of the film as you're meant to like them both.  Johnson's ace pilot is a little too green to believably fall for the more world-weary Dunne, a woman who has already had her heart broken and is clearly much older than Johnson (she was actually 18 years his senior in real life, and it shows in the way that she practically looks like his mother onscreen).  Tracy's Pete is a much better match, age-wise (he was two years younger than Dunne, for the record), but his personality and the way that he's meant to be a type of guardian angel and yet hasn't gained much perspective (frequently sabotaging Dunne's Dorinda in her quest to get over him and find happiness) is off-putting.  The film's focus would more smartly be on him trying to convince her to move on, but the fact that the basis of the movie is on him ruining her relationship with Johnson's Ted made me like him a lot less.

Still, there are occasionally scenes that make it worth the wait for this picture (particularly the climactic scene where Dunne herself is forced to go up into the cockpit and flies the plane), but they're few-and-far between and at two hours it pushes its luck, patience wise, by a solid thirty minutes.  I wish they would have pursued a little bit more the odd conundrum of the movie, particularly since Pete exists in heaven, and perhaps that should be his end goal-to get Dorinda to stay with him in spirit until they can meet up for the eternity.  This feels like A) a solid question for a movie of that time and B) actually a genuinely interesting idea for a movie in general, as I don't know that I've seen it and kind of wish Golden Age Hollywood would have done it as it would be relegated to a Christian-only studio somewhere at this rate.  As it stands now, the movie is pretty dull, and I find it odd that it made it into the writing category for the Oscar nomination and not something like sound (considering the persistent airplanes overhead) as its story is only interesting in a two-sentence description and not in actual execution.

Those are all of my thoughts on the film (it's pretty straight-forward, and not even the three movie star leads add much in terms of great panache), but hopefully you can spur some conversation in the comments.  Have you seen A Guy Named Joe, and if so weigh in on the love triangle, the behind-the-scenes drama, and whether or not this deserved an Oscar nomination.  And if not, at least let's hear about a favorite performance you have of Tracy, Dunne, or Johnson!