Unforgettable or Forgotten? The Most Underwhelming Oscars for Best Picture in 1931

The Academy Awards, known today as the Oscars, have undergone numerous transformations over the years, with some years seen as standouts, and others considered to have a less than stellar lineup for the Best Picture category. One such year stands out distinctly: 1931. While the Golden Age of Hollywood was in full swing, the Academy's choices for the Best Picture nominees from the 1930-1931 season...

1930–1931: The Year the Best Pictures Were Confusingly Forgotten

Two years fittingly blend into one: 1930–1931. This period saw the nominees of Cimarron, East Lynne, The Front Page, Skippy, and Trader Horn. Let's delve into why this year in particular has been long remembered for its unremarkable choices.

The Bright Spot: The Front Page

Among the nominees, The Front Page is a rare standout, still occasionally shown and holding up remarkably well. It is, in fact, the original version of the famous remake, His Girl Friday, which has earned its status as a true film classic. The Front Page is a thrilling adaptation of a classic play, bringing the print to life with a flair that has stood the test of time.

The Other Nominated Films: Noteworthy Fails

The remaining nominated films, however, have garnered less attention and fewer admirers. Here, we explore each one, illuminating why they have not stood the test of time.

Forest's East Lynne

East Lynne stands as the most challenging to find due to its partial remake and the presence of a pre-existing adaptation. Despite being based on a popular book, it failed to make much of an impact, with a few UCLA reviewers expressing disappointment with the film's quality. This melodrama, while a historical curiosity, did not manage to resonate with modern audiences.

MGM's Trader Horn

Trader Horn, an MGM production that was part of their episodic safari adventure genre, has been tarnished by its racist depiction of African natives and their veneration of a white woman. Although it was periodically shown on the L.A. Show via the MGM package in the 1950s and 1960s, it is now largely forgotten and seen as a relic of a more problematic era.

Paramount's Skippy

Skippy, a film similar in style to the films produced by the Our Gang series, was not nearly as successful as its contemporaries. While it featured Norman Taurog, a competent but not exceptional director, the film itself lacked humor and fun, making it less engaging than expected. Interestingly, the film's lack of success may be attributed to a story where the director, Norman Taurog, reportedly asked a child actor, Jackie Cooper, to cry on camera by threatening to shoot his dog, a narrative that has left a lasting impact on Cooper’s career.

The Winner: Cimarron

Cimarron, the winner, is a western epic with a notable scene at the Oklahoma land rush of 1888. However, the rest of the film is much less impressive, suffering from a lead performance by Richard Dix, who plays a character that detracts from the overall film. The film manages to shine through the performance of young Irene Dunne, who portrays an underappreciated character, lending a feminist narrative and political activism. For contemporary viewers, its value lies in reflecting on the 1930s nostalgia for the 19th century, capturing an era vividly remembered.

The Lollipop of Missed Opportunities

Of note, several genuine classics from the era, such as Little Caesar, Public Enemy, Morocco, Dracula, and The Blue Angel, as well as Charlie Chaplin’s seminal work City Lights, were overlooked for Best Picture. This list of films offers a stark contrast to the final nominees, indicating that while the Academy may miss the mark, genuine classics remain etched in cinematic history.

While the 1931 Oscars for Best Picture may not be remembered fondly, they serve as a reminder of the imperfect nature of artistic and critical judgments. The history of cinema is replete with films that have risen to greatness and those that have been historically underappreciated, but each story adds a layer to the rich tapestry of film history.