10 Oscar Snubs From the 1940s


Ah, the 40s! For most of the decade, the world was at war and the Academy’s nominations reflected that fact. The best picture lineups alternated between patriotic films that encouraged the battle against evil and darker films that contemplated both the mistakes of the past and what threats might be waiting in the future.  With the Academy being even more aware than usual that films and awards could be used to send a message, the snubs continued.

1940: John Carradine Is Not Nominated For The Grapes of Wrath

John Carradine’s first credited film appearance was in 1930 but Carradine himself claimed that he had appeared as an uncredited extra in over 70 films before getting that first credit.  Carradine would continue to work until his death 58 years later.  John Carradine did so many films that he was still appearing in new releases in the 90s, years after his death.  He appeared in over 234 films and in countless television shows.  He was a favorite of not only Fred Olen Ray’s but also John Ford’s.

Unfortunately, Carradine was never nominated for an Oscar, despite the fact that he did appear in some classic films.  (He also appeared in a lot of B-movies, which is perhaps one reason why the Academy was hesitant to honor him.)  Personally, I think Carradine most deserved a nomination for playing “Pastor” Jim Casy in John Ford’s The Grapes of Wrath.  Carradine is ideally cast as the former preacher turned labor activist.  When he’s alive, he gives the Joads hope.  When he dies, both the Joads and the audience start to realize how difficult things are truly going to be.

1942: Ronald Reagan Is Not Nominated For Best Supporting Actor For Kings Row

Kings Row is an enjoyably over-the-top small town melodrama and future President Ronald Reagan is fantastic in the film, with his natural optimism providing a nice contrast to the truly terrible things that happen to him and his loved ones over the course of the film.  Reagan was not nominated for this performance, the one that both he and the most of the critics agreed was his best, but he should have been.

1943: Hangmen Also Die Is Not Nominated For Best Picture

Fritz Lang’s anti-Nazi classic was not nominated for Best Picture and only received two nominations (for Sound and Score).  That year, the Best Picture winner was another anti-Nazi classic, Casablanca.

1943: Shadow Of A Doubt Is Ignored

Today, it is recognized as one of Hitchcock’s best but, in 1943, Shadow of a Doubt couldn’t even score a nomination for Joseph Cotten’s wonderfully diabolical turn as Uncle Charlie.  One gets the feeling that the film’s satirical jibes at small town America and its theme of evil hiding behind a normal façade were not what the Academy was looking for at the height of World War II.  It’s a shame because, in many ways, Cotten’s Uncle Charlie was the perfect symbol of the enemy that the Allies were fighting.

1944: Tallulah Bankhead In Not Nominated For Best Actress For Lifeboat

Unlike Shadow of a Doubt, Hitchcock’s Lifeboat received several Oscar nominations.  However, Tallulah Bankhead was not nominated for Best Actress.  Perhaps the Academy was scared of what she might say if she won.

1944: Fred MacMurray and Edward G. Robinson Are Not Nominated For Double Indemnity

For all the nominations that this classic noir received, somehow neither Fred MacMurray nor Edward G. Robinson were nominated for their roles.  Both actors are brilliantly cast against type in this film.  MacMurray uses his trademark casual glibness to portray Walter Neff as being an arrogant man who is hardly as clever as he thinks that he is.  Meanwhile, Robinson’s more introspective performance leaves you with little doubt that, if anyone can solve this case, it’s him.  While Barbara Stanwyck was (rightfully) nominated, it’s had to believe that both MacMurray and Robinson were snubbed.

1946: Thomas Mitchell and Lionel Barrymore Are Not Nominated For Best Supporting Actor For It’s A Wonderful Life

As wonderful as James Stewart and Donna Reed are, it just wouldn’t be Bedford Falls without Uncle Billy and Mr. Potter!  Thomas Mitchell breaks your heart in the scene where he tries to remember what he did with the lost money.  And, for audiences who had just lived through the Great Depression, Lionel Barrymore represented every businessman who cared more about money than people.  It’s impossible to imagine the film without them …. or without Henry Travers, for that matter!  Seriously, very few films have received three best supporting actor nominations but It’s A Wonderful Life deserved to be one of them.

1948: Humphrey Bogart Is Not Nominated For Best Actor For The Treasure of the Sierra Madre

The Treasure of the Sierra Madre received four Oscar nominations.  Somehow, not one of those nominations was not for Humphrey Bogart.

1948 and 1949: Red River, Fort Apache, and She Wore A Yellow Ribbon Are Not Nominated For Best Picture

The public may have loved Westerns but the Academy largely shied away from them, with a few notable exceptions.  Howard Hawks’s Red River and John Ford’s Fort Apache and She Wore A Yellow Ribbon are today all recognized as being classic Hollywood films.  However, the Academy, then at the height of its bias towards “genre” films, didn’t honor any of them.

1949: James Cagney Is Not Nominated For Best Actor For White Heat

“Top of the world, ma!”  Maybe so, but not top of the Oscars.  The Academy was always more interested in honoring Cagney for being a song-and-dance man than for honoring him for his iconic gangster roles.

Agree?  Disagree?  Do you have an Oscar snub that you think is even worse than the 10 listed here?  Let us know in the comments!

Up next: Get ready to hate the commies and to love Ike because the 50s are coming!

Horror on the Lens: The Lodger (dir by Alfred Hitchcock)


A serial killer known as “The Avenger” is murdering blonde women in London (which, once again, proves that its better to be a redhead).  And while nobody knows the identity of the Avenger, they do know that the enigmatic stranger  (Ivor Novello), who has just recently rented a room at boarding house, happens to fit his description.  They also know that the lodger’s landlord’s daughter happens to be a blonde…

Released in 1927, the silent The Lodger was Alfred Hitchcock’s third film but, according to the director, this was the first true “Hitchcock film.”  Certainly it shows that even at the start of his career, Hitchcock’s famous obsessions were already present — the stranger accused of a crime, the blonde victims, and the link between sex and violence.

Also of note, the credited assistant director — Alma Reville — would become Alma Hitchcock shortly before The Lodger was released.

Horror Scenes that I Love: The Gas Station Attack From Alfred Hitchcock’s The Birds


Now, in all honest, it’s not just The Birds that cause chaos in this scene from Alfred Hitchcock’s 1963 film of the same name.  I will never understand why that gentleman decided that he just had to light up a cigar at that particular time.  And if he had used a lighter instead of a match, he could have prevented a lot of trouble.

That said, you do have to respect the Birds for somehow knowing that he would do exactly that and therefore, making sure that the gasoline ended up right around his feet.  Those birds are clever!

Seriously, though, this scene really creeps me out.  I think it’s because there’s so many birds and, as this scene showed, there was absolutely no way the humans on that island were going to be able to win this particular battle.

8 Shots From 8 Horror Films: The Mid 60s


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at the mid-60s!

8 Shots From 8 Horror Films: The Mid 60s

Black Sabbath (1963, dir by Mario Bava DP: Mario Bava)

The Birds (1963, dir by Alfred Hitchcock, DP: Robert Burks)

The Raven (1963, dir by Roger Corman, DP: Floyd Crosby)

The Evil of Frankenstein (1963, dir by Freddie Francis, DP: John Wilcox)

The Masque of the Red Death (1964, dir by Roger Corman, DP: Nicolas Roeg)

Blood and Black Lace (1964, dir by Mario Bava, DP: Mario Bava)

Planet of the Vampires (1965, dir by Mario Bava, DP: Antonio Rinaldi)

Rasputin The Mad Monk (1966, dir by Don Sharp, DP: Michael Reed)

6 Shots From 6 Horror Films: The Early 60s


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at the early 60s!

6 Shots From 6 Horror Films: The Early 60s

Psycho (1960, dir by Alfred Hitchcock, DP: John L. Russell)


Black Sunday (1960, dir by Mario Bava)


Peeping Tom (1960, dir by Michael Powell, DP: Otto Heller)


Pit and the Pendulum (1961, dir by Roger Corman, DP: Floyd Crosby)


The Best of Yucca Flats (1961, dir by Coleman Francis, DP: John Cagle and Leo Strosnider)


The Awful Dr. Orloff (1962, dir by Jess Franco, DP: Godofredo Pacheco)

8 Shots From 8 Horror Films: The 1940s


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at the 1940s.

8 Shots From 8 Horror Films: The 1940s

The Devil Bat (1940, dir by Jean Yarbrough, DP: Arthur Martinelli)

The Wolf Man (1941, dir by George Waggner, DP: Joseph Valentine)

Cat People (1942, dir by Jacques Tourneur, DP: Nicholas Musuraca)

I Walked With A Zombie (1943, dir by Jacques Tourneur, DP: J. Roy Hunt)

The Leopard Man (1943, dir by Jacques Tourneur, DP: Robert De Grasse)

House of Frankenstein (1944, dir by Erle C. Kenton, DP: George Robinson)

Spellbound (1945, dir by Alfred Hitchcock, DP: George Barnes)

The Picture of Dorain Gray (1945, dir by Albert Lewin, DP: Harry Stradling)

6 Shots From 6 Films: Special Alfred Hitchcock Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

123 years ago, the master of suspense was born in England.  Today, we honor the career and legacy of the great Alfred Hitchock with….

6 Shots From 6 Alfred Hitchcock Films

The Lodger (1926, dir by Alfred Hitchcock, DP:Gaetano di Ventimiglia )

Shadow of a Doubt (1943, directed by Alfred Hitchcock, DP: Joseph A. Valentine)

Vertigo (1958, dir by Alfred Hitchcock, DP: Robert Burks)

North by Northwest (1959, dir by Alfred Hitchcock, DP: Robert Burks)

Psycho (1960, dir by Alfred Hitchcock, DP: John L. Russell)

The Birds (1963, dir by Alfred Hitchcock, DP: Robert Burks)

Horror Scenes That I Love: The Final Scene of The Birds


From 1963’s The Birds and directed by Alfred Hitchcock, this is one of the best horror endings ever.

The birds have won. Or, at least they have until Birdemic….

4 Shots From 4 Alfred Hitchcock Films


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Today, we honor the master of suspense, Alfred Hitchcock.  Not all of his film were horror films, of course.  In fact, the majority were not.  But his influence on the genre cannot be overstated.  Just try to keep track of how many horror films owe a debt to Psycho or The Birds.

It’s time for….

4 Shots From 4 Alfred Hitchcock Films

The Lodger (1926, dir by Alfred Hitchcock, DP: Gaetano di Ventimiglia)

Shadow of a Doubt (1943, dir by Alfred Hitchcock, DP: Joseph A.Valetine))

Psycho (1960, dir by Alfred Hitchcock, DP: John L. Russell)

The Birds (1963, dir by Alfred Hitchcock, DP: Robert Burks)

Suspense Film Review: Rope (dir by Alfred Hitchcock)


Rope, an odd little 1948 experiment from Alfred Hitchcock, opens with a murder.

Two wealthy young men, Brandon (John Dall) and Philip (Farley Granger), invite their friend, David Kentley (Dick Hogan), up to their apartment.  When David arrives, they strangle him and hide his body in a wooden chest.  As quickly becomes obvious, Brandon and Philip killed David largely to see if they could pull off the perfect murder.  Brandon is sure that they did and, that by doing so, they proved the concept of Nietzsche’s Übermensch,  The alcoholic Philip is less sure and starts drinking.

Brandon and Philip don’t just have murder planned for the day.  They’re also planning on throwing a little dinner party and, among those on the guest list, are David’s parents, his girlfriend, and his girlfriend’s former boyfriend.  Also attending will be Brandon and Philip’s former teacher and housemaster, Rupert Cadell (James Stewart).  In fact, Brandon regularly claims that he got the idea to commit the perfect murder as a result of discussing philosophy with Rupert.  Apparently, Rupert turned Brandon onto Nietzsche….

AGCK!  JIMMY STEWART LEADING YOUNG MEN TO FASCISM!?  SAY IT’S NOT SO!

Well, fortunately, the dinner party conversations reveals that Brandon and Philip misunderstood what Rupert was trying to tell them.  They assumed, using the same type of logic that currently fuels most debate today, that just because Rupert mentioned something that meant that he approved of it.  As it becomes clear that Rupert would not approve of what his students have done and as Rupert himself starts to suspect that something bad has happened at the apartment, Brandon and Philip start to plot against their former mentor….

Now, it can be argued that Rope is not a horror movie.  And indeed, if your definition of horror is ghosts, vampires, werewolves, or any other type of paranormal creature than yes, Rope has none of those.  Instead, the horror of Rope is the horror of human cruelty.  It’s the horror of two privileged young men who have so twisted the words of their mentor that they’ve become monsters.  The horror in Rope comes from the fact that, in 1948, Brandon and Philip have embraced the same philosophy that, only a few years earlier, had plunged the entire world into war.  While families mourned their dead and Europe struggled to rebuild, Brandon and Philip showed that they had no understanding of or concern for the trauma that humanity had just suffered.  And making it even more disturbing is that they found the justification for their crimes in the lessons taught by the epitome of American decency, Jimmy Stewart.  The idea of that is more terrifying than any Hammer vampire flick.

Of course, Rope is best known for being a bit of an experiment.  Hitchcock edited the film to make it appear as if it was all shot in one take and events, therefore, played out in real time.  It’s an interesting idea and, as always, you have to admire Hitchcock’s ingenuity and, even in a film as grim as this one, his playfulness.  At the same time, Hitchcock’s technique makes an already stagey story feel even stagier.  Some of the actors — like James Stewart, John Dall, and Cedric Hardwicke in the role of David’s father — are able to give naturalistic and convincing performances despite the staginess of the material. Others, like poor Farley Granger, find themselves overshadowed by the film’s one-shot gimmick.

Rope is an experiment that doesn’t quite work but flawed Hitchcock is still a pleasure to watch.  The final few minutes, with Stewart and Dall finally confronting each other, are among the best that Hitchcock ever put together.  I appreciate Rope, even if it doesn’t quite succeed.