I can always ReOscarize but preserve the right to return and make a decision at a future time, especially if no one cares one way or the other. Make an argument although it would have to be pretty compelling. Maybe you think I shouldn’t DeOscarize Jose Ferrer. I’d be interested in seeing who you think should get this Award. Perhaps you would like to make your choice known. At any rate, I’m not going to name a NEW Best Actor 1950. I do not have a particularly strong inclination to one or the other although frankly, I would choose between John Wayne and Gregory Peck, not nominated then but their performances in these particular films are even better with age. Gregory Peck – The Gunfighter as Jimmy Ringo. Their performances in these films still hold up. Anyway, there were some great film performances in 1950 that should be reconsidered for Best Actor. I think he won it because the members of the Academy knew they blew it when they denied in in 1950. For my money, William Holden’s performance as Joe Gillis in Sunset Boulevard was far superior to the role and his performance in Stalag 17, for which he supposedly won the Academy Award for Best Actor, 1953. We have much to lose if we cannot encourage the youngsters to preserve the films and the memories of these great actors. Are there no film classics offered on the most famous internet program provider? ATTENTION all you Turner Classic Movies fans. All she kept saying to me was, “I watch Netflix”. I spoke with a woman in her mid-thirties the other day who did not know who James Stewart was.
Dowd is also a legendary Broadway performance for this great actor on screen or on stage. There were some very respectable performances nominated along with Jose Ferrer. José Ferrer – WINNER Best Actor, 1950 – Cyrano de Bergerac as Cyrano To me the nominees weren’t much better than Ferrer but just who look at who the Academy snubbed and for what roles.
Watch that performance and then tell me it doesn’t belong more on a Broadway stage than on the silver screen especially when you see some of the other real film performances that were available in 1950. I propose that such is the case for Jose Ferrer in Cyrano de Bergerac. And so, every once and awhile, the members would get carried away with an actor’s Broadway reputation give him an Academy award for his Broadway performance and not necessarily his film portrayal. They were considered, back then to be “real actors”, the crème de la crème disciplined artists who could carry a performance for three hours straight without having to run to the trailer every half hour.
Members of the Academy of Arts and Science, especially the actor members, used to be in awe of actors who achieved stardom on Broadway. So, a film was made to capture the great performance Ferrer had given on Broadway just like Brando’s Streetcar. However his reputation as a great actor was made, like Brando’s, on Broadway with Cyrano de Bergerac. He was even nominated for an Academy Award as the Dauphin in the Ingrid Bergman, Joan of Arc. The same thing happened to Jose Ferrer with his Broadway performance of Cyrano de Bergerac. No other actor would have been acceptable in the role not to the audience and certainly not to the author. However, he had to do the film version of Streetcar. Brando had made a film before Streetcar but it was not well known a film called The Men. Marlon Brando did it when he rocked the New York theatre scene with his portrayal of Stanley Kowalski in A Streetcar Named Desire.
#YOUTUBE CYRANO DE BERGERAC FILM MOVIE#
However, there was a time in the history of North American show business when one could become a movie star by achieving stardom first on Broadway. By being famous they inspire ticket sales by the curious as well as actual theatre goers. The important thing is that they are known. It’s probably important that they have a modicum of talent and can perform for three hours straight without rushing to the Winnebago every half hour, every night. Sometimes, even a television star will do. If and when one has the brass to produce a Broadway show, a piece of theatre, one must have a bankable movie star to get the money, the interest and the audience.
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