Rebecca

Bette Davis, The Letter

as LESLIE CROSBIE

Watching Bette Davis strut out onto her veranda, gun in hand, shooting viciously at a man who has scorned her love, her face stone-cold with loathing and eaten by the dark of the night...what more could a person who obsesses over actress possibly ask for? After having watched the 1929 version of The Letter, my anticipation was high for this one, because of all the major Hollywood stars at the time, Davis' brand of explosive treachery made the most sense for a character as dangerous and cunning as Leslie Crosbie, one of the most exciting female characters I've seen from the pre-code era. So I turned on the film and watched, and waited for Davis to allow the spirit of Jeanne Eagels to live on through her.

Katharine Hepburn, The Philadelphia Story

as TRACY LORD

Won: New York Film Critics Circle - Best Actress

I first watched The Philadelphia Story a few years ago for a college film course, and at the time I hadn’t seen many screwball comedies nor was I very familiar with Katharine Hepburn’s work. Once the film was over I had no idea what to make of her performance. It was so…Katharine Hepburn-like. It was such a marriage of the qualities we typically associate with Kate—sophistication, wealth, haughtiness…not to mention the heavy Mid-Atlantic accent that is so rigorously unique and hers, that which reverberates so vividly in this film. I thought her to be very unusual; compared to her contemporaries, it’s obvious that she’s a much more idiosyncratic presence onscreen, and it just felt to me as if I was watching her be herself for an hour-and-a-half. I liked it, but I was a little underwhelmed; I expected more from a performance that is so revered and so heavily considered as one of Kate's greatest. Flash-forward to present day; I am older and (as I'd like to think) a bit more refined in my taste, and this time around while watching Kate, I saw the performance in a much different light.

James Stewart, The Philadelphia Story

as MACAULAY "MIKE" CONNOR

Won - Academy Award - Best Actor

Sometimes actors put out several top-notch, heavily acclaimed performances and will consistently lose the Oscar until finally, one year, everything falls into place and they achieve their moment of golden glory for a performance that doesn't hold up to the excellence of their prior work. Or sometimes actors get recognized for one amazing performance, lose the Oscar for that year, and are handed one the next year. The latter is the story of James Stewart, who, after earning much praise from critics and yours truly for his fine work in Mr. Smith Goes to Washington, and who would go on to have a storied career filled with many other iconic performances, somehow managed to nab his only Best Actor Oscar for...The Philadelphia Story, a film that doesn't revolve around his character, a film that's much more strongly associated with his female costar, and a film in which there's arguably no male lead. It's kind of screwy how our beloved Academy Awards go about their business.

Martha Scott, Our Town

as EMILY WEBB

If movies are influenced by the time in which they are made, then I'd say that Our Town is a perfect example of the Production Code era. Because in what other time period could a somewhat strange and somewhat drab stage play about the lives of citizens in a tiny New Hampshire town in 1901 possibly have been a success at the box office? If Inside Oscar is to be believed, the race for Best Picture that year was actually between Rebecca, The Grapes of Wrath, and Our Town...further reinforcing the notion that good-clean fun was especially valued during that time. I point this out because I feel that Martha Scott's bid for the Best Actress statue that year is one of those instances where an actress got the nomination not necessarily because she was excellent, but because the film had done well and was held to a high enough regard that her name was pushed into the race. Scott's is not the kind of performance that has enough weight to hold its own in sheer merit; in fact, it's very much the kind of performance that slips through the cracks.