"The Man That Got Away". The Project That Didn't.

<--- Mrs. Best Actress and Mr. Best Actor, 1954.
But OOPS. Marlon Brando won but Judy didn't.

Judy Garland breaks my heart every time she warbles a note. Someone once ridiculed me in college for this. "It's an old school gay cliché," He said. "You weren't born in the 1940s for goddsakes." But, reader, I firmly believe it's a sign of weak (or dull) character when people only care about the culture and entertainment that's happening in their own lifetime. The best people always transcend space and time, allowing whatever will speak to them to speak to them, no matter the country of origin, decade or even century. I mean if kabuki theater, Gregorian chants, 90s sitcoms or silent film divas are your things, obsess on them please. Life is too short to let cultural experience be completely defined by the day's studio heads, record executives or marketing gurus... not to mention peer pressure. Enjoy what you enjoy.

So anyway, this morning I must bow down to Nick who completed his Best Actress Project by screening Judy's A Star is Born (1954). Though I don't recommend YOU save it for your last one (just save it until later this month when the newly restored edition of the film arrives for home viewing). It's an accidentally perfect closing film because it is...great

1. contains phenomenal actressing
   
2. actually about the movie industry
3. Oscar obsessed. Oscar Night is a big plot point

TRIVIA BUFFS: Come to think, regarding #4, has anyone who ever pretended to win an Oscar in a movie, won one? I can't think of a single example. Maybe it's a curse? But then only two cases spring immediately to mind Matt Dillon in In & Out (1997) and Judy in A Star is Born. Are there more? Have I forgotten something obvious?

Anyway. You must see Nick "Faye" Davis's 'Morning After' staged photo as well and please comment there to encourage him to expand all of this into a print book. Here's what I had to say.

I would buy a copy of the book every time I met another actressexual and give it as a 'Hello New Friend' gift. And I would buy a copy for every 5 star actress that I also think is 5 star and ship it to her management.

And I'd keep 4 copies for myself: One signed by you; One for note taking; One to keep in pristine condition; And the final one to use as bludgeoning device should I ever meet an Academy member who doesn't take their voting in this category seriously.

And I meant it! (Well maybe not the first paragraph. That might get expensive in my line of work.)

But back to Judy. In his article, Nick says what will surely be fighting words to some

Garland is beyond being the best of her group, which is hardly a shabby one. She's one Blanche DuBois away from being the strongest nominee of her decade.

I wholeheartedly agree that she's the best of the '54 crop and I'd rank them like so: Garland, Wyman, Hepburn, Dandridge, Kelly... yes, the winner being my least favorite is not an uncommon trend. And Kelly was better in Rear Window (same year) anyway.

But Nick's provocative statement got me thinking about the 50s performances that I still haven't seen and the ones I'd rank as very best. From what I've seen so far, my 5 favorites from the decade are (in alpha order).

• Bette Davis, All About Eve (50)
• Judy Garland, A Star is Born (54)
  
• Judy Holliday, Born Yesterday (50)
  
• Vivien Leigh, A Streetcar Named Desire (51)
  
• Anna Magnani, The Rose Tattoo (55)
  
• Gloria Swanson, Sunset Boulevard (50)
  

Oops, that's 6! But who to leave out? I already had to part with the Woodwardian amazement that is The Three Faces of Eve. What is your list like for the 1950s? And if you haven't seen many -- you gotta start somewhere and maybe it isn't in the 50s -- which performances are you most curious about based on what you've heard and read over the years you've been actress-curious?

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