Almost There: Bette Davis in "Of Human Bondage"

by Cláudio Alves

Nowadays, Oscar snubs generate justifiable fire on social media and occassionally even get primetime attention. However, they're not huge stories that threaten the existence and validity of the Academy itself. It wasn't always like this. Back in the early days of the Oscars, some snubs were so outrageous they made fear blossom in the hearts of Academy members, threatening to invalidate the entire (new) institution in the eyes of the general public. So much so, that new rules were put in place to avoid similar outcomes, write-in votes were allowed and apologies were handed out in the shape of what we now call a career Oscar.

Such was the case in the mid-30s when Bette Davis made Of Human Bondage, defied Hollywood's expectations, became a sudden star and still failed to get the Academy Award nomination most thought she deserved…

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Olivia @ 100: It's Love I'm After

We're counting down to Olivia de Havilland's historic 100th birthday (July 1st!). Team Experience will be looking at highlights and curiosities from her career. Here's Josh...

Is there a film star in history who could stare doe-eyed better than Olivia de Havilland? Or anyone who delivered a line with seething bitterness through a smile better than Bette Davis? The rarely seen 1937 comedy It’s Love I’m After offers an early showcase of both women doing what they do best before their long careers to come. Davis was in the process of reaching mega-stardom, and de Havilland was unknowingly just one year away from taking Hollywood by storm opposite Errol Flynn in The Adventures of Robin Hood. It’s Love I’m After was a chance for both of them to show off their comedic chops in the screwball era. It was also the first of the many collaborations between the two women... 

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Ingrid Bergman Centennial: The Film That Brought Her to Hollywood

August 29th marks the Centennial of Ingrid Bergman (1915-1982), one of the greatest of all movie stars with a career that stretched from the early 30s through the late 70s, encompassing multiple classics, multiple countries, and multiple Oscars. We'll be proceeding mostly in chronological order. Here's Abstew to kick things off with "Intermezzo" - Editor

Had it not been for a Swedish elevator operator working in the building that housed the New York offices of Selznick International Pictures, the world might never have discovered the young actress that would become the Hollywood legend Ingrid Bergman. It was 1936, and the soon-to-be star had just appeared in a Swedish film named Intermezzo about a famous concert violinist (played by Sweden's first stage star Gösta Ekman) that leaves his wife and family and has an affair with his much younger accompanist. There was clearly something special about the actress playing the love interest. The elevator operator wasn't the only one to see it, but he happened to have the ear of Hollywood producer David O. Selznick's talent scout Kay Brown (since she rode in his elevator everyday), telling her to seek out the film and to pay special attention to the girl in the picture. And in the early part of 1939, Brown flew to Stockholm and persuaded the young actress from Intermezzo to come to America and star in the Hollywood remake. Thus launched the international career of Ingrid Bergman and, as they say in the pictures, a star was born.

But her path to stardom in Hollywood wasn't without its hurdles...

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Beauty vs Beast: Miss Scarlett Decides

Fiddle-dee-dee y'all it's Jason from MNPP here with today's sweeping Southern epic edition of "Beauty vs Beast." Yes indeedy today is the 75th anniversary of the biggest movie that ever was and probably ever will be - David O. Selznick's Gone With the Wind (if any movie's ownership belongs to its producer, it's this one) premiered in Atlanta on this day in 1939. Three hundred thousand people lined the streets surrounding the Loews Grand Theater, the cap of three days worth of festivities which brought over a million people to the city. Most of the stars attended, save Leslie Howard who'd returned to England because of WWII, as well as Hattie McDaniel and the other black actors in the film who would've been segegrated from the rest of the cast thanks to Jim Crow. (A situation echoed several months later when McDaniel had to make her way from the back of the room to accept her Oscar.)

The film immediately smashed every record in sight - it sold just about half as many tickets as there were people in the United States, and adjusted for inflation its box office in today's dollars sits at something like three and a half billion dollars. It was a hit!

There were several character iterations I could've gone with for today's competition, but it seemed to me to face Viven Leigh's towering performance as Scarlett O'Hara off against anybody (Melanie, imagine!) would've flounced and trounced any ol' nobody in her way, so instead let's make like we're Scarlett herself and stricken with a crisis of suitors! A beau-tastrophe! Whomever shall we choose?

poll by twiigs.com

You've got seven days to vote, which should just give you about enough time to re-watch the first half of the movie up to the Intermission, so get to it.

PREVIOUSLY We took on 2014's blood-soaked war of the sexes with David Fincher's Gone Girl last week, pitting Ben Affleck's full-frontal assault as Nick in one corner opposite Rosamund Pike's icy cool girl Amazing Amy in the other - sure enough Amy kept her nickname tight in her calclating grasp, making off with over 70% of the vote. Said Mareko:

"Cool Girl is fun. Cool Girl is game. Cool Girl is hot. Cool Girl never gets angry at her man."

Seasons of Bette: Of Human Bondage (1934)

ICYMI - We announced last week that as a sidebar series to Anne Marie's "A Year With Kate", Nathaniel will be discussing each of the Oscar Roles of Bette Davis, 11 in total or 10 if you're a purist, as they appear within Kate's chronology. There will be spoilers.

You should know as we begin this new mini-series that I am not, like Anne Marie with Kate, a Bette historian. My knowledge of Bette Davis is something like the cliff notes version that most people who love movies absorb along the way. The earliest and only pre-Jezebel (1938) Bette Davis performance I had seen before beginning this series was Three on a Match (1932) which didn't, in any way, prepare us for the Bette we know; she's not the MVP of that racy pre-code girls-gone-bad drama. So I'm happy to report that Of Human Bondage (1934) gives us the Full Bette-of-Legend Arc. She goes from unsatisfying bit player to unforgettable star to terrifying disintegrating old harpy all in the space of 83 minutes! It's quite the retrospective ride. [More...]

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