1957 at the Oscars: The Japanese, the Italians, and the Blacklisted, among the Many Faces of Oscar

Who says the Academy of Motion Picture Arts and Sciences are not international? If we go way, way back to the 30th annual Academy Awards, there was little in the way of begrudging the multi-branched body a finer, broader taste of movies. That is not to say that foreign language films were everywhere in 1957. But there was certainly an international shadow over many of the nominated films.

We can’t get through the honoring of the films of 1957 without mentioning a certain Polish fellow, Sam Spiegel. As a producer, Spiegel won Best Picture Oscars for On the Waterfront (1956), Lawrence of Arabia (1962) and was then handed the Irving Thalberg Memorial Award in 1963. The second of his three Best Picture Academy Awards would come on 26th March 1958, for the much fancied The Bridge on the River Kwai (1957).

Though come nominations announcement of the 30th Hollywood roll-call, it was Sayonara that tallied highest with 10. Peyton Place was in second place with 9 nominations (including a whopping 5 in the acting categories). And standing firmly on 8 nods was David Lean’s The Bridge on the River Kwai – still pretty much the favorite going into the final lap of the race.

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In the end, only Sayonara (4 wins) and The Bridge on the River Kwai (7) would come away with more than one gong on the night. Two extraordinary motion pictures, with the nation of Japan very much in plain view. Joshua Logan, a stage director and Pulitzer Prize winner, tackles a double helping of interracial romance in Sayonara. While David Lean’s expansive war film conflicts the British army with the Japan-occupied Burma during World War II.

As well as Best Art Direction-Set Decoration and Best Sound, Sayonara would grab both Supporting Role Oscars. Red Buttons and Japanese actress, Miyoshi Umeki, whose characters marry in the picture, proved to be refreshing winners.

Perhaps not so popular in the Peyton Place circles, with Buttons and Umeki both triumphing over two nominees from the film. Supporting Actors Arthur Kennedy and Russ Tamblyn, and Supporting Actresses Hope Lange and Diane Varsi. As well as Japanese native, Sessue Hayakawa, nominated for The Bridge on the River Kwai.

Those 9 nominations without a single win for Peyton Place was a record at the time (like The Little Foxes in 1941). The Turning Point in 1977 and The Color Purple in 1985 would break that lousy record with 11 winless nods. And five nominations in the acting categories for one film is a breakthrough alone, but only matched by Tom Jones in 1963 to come away without any of them picking up gold.

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As for The Bridge on the River Kwai, it was not Japan that America had to concern themselves with, but rather their own fiasco with the blacklisted screenwriters. Then called Best Screenplay Based on Material from Another Medium, it was Frenchman, Pierre Boulle, whose book the film was based on, that was awarded the Oscar. Boulle could hardly speak or write in English. But that was the deal given screenwriters Carl Foreman and Michael Wilson were denied credit. Not until 1985 were Foreman and Wilson, posthumously, granted credit by the Academy.

Over in the Best Story and Screenplay Written Directly for the Screen category, it was Designing Woman than won – without any communist conspiracy. Among the nominees was I Vitelloni, Federico Fellini‘s 1953 film. Very rarely does an international picture make the line-up in the main categories. Perhaps more bizarre is the four years it took for the Italian film to reach American soil.

The great Fellini, however, would win back-to-back Best Foreign Language Film Oscars (La Strada winning for 1956) with Nights of Cabiria. The Italian filmmaker’s muse and wife, Giulietta Masina, would feature in both. Fellini would go on to win two more in this category – for 8½ in 1963, and Amarcord in 1974.

The Italian connection was also spread lovingly across acting categories. With Anthony Franciosa (Best Actor nominee, A Hatful of Rain), Anna Magnani (Best Actress nominee, Wild Is the Wind), and Vittorio De Sica (Best Supporting Actor nominee, A Farewell to Arms). The magnificent Magnani, who was central to Fellini’s first Oscar invite, Rome, Open City, had scooped Best Actress two years prior for The Rose Tattoo.

The international flavor continued in some of the presenters. Soon to be seen in Fellini’s La Dolce Vita, Swedish starlet, Anita Ekberg, took to the stage with Vincent Price of all people. And Sophia Loren matched flirt tactics with Bob Hope, one of the five hosts spreading the wealth. Before the Italian actress showed genuine gratitude for the Academy’s recognition of her countrymen.

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You have to wipe the sweat from your brow when you remind yourself of the fabulous faces that appeared on stage throughout the evening. Veterans and legends appeared from all walks of the movie industry. Mae West and Rock Hudson performed together. There was Fred Astaire, Clark Cable, Doris Day, Gary Cooper, Bette Davis. Newly-weds Paul Newman and Joanne Woodward. And future President of the United States, Ronald Reagan.

Fresh from the clearing smoke of Gunfight at the O.K. Corral, Kirk Douglas and Burt Lancaster satirically commented on the Best Actor line-up, and that they were not in it. Before congratulating each other and breaking into song with “It’s Great Not to Be Nominated”. As well as films such as Funny Face, Les Girls, A Face in the Crowd and An Affair to Remember, Douglas (Paths of Glory) and Lancaster (Sweet Smell of Success) starred in credible films that did not make the Best Picture list.

Joining The Bridge on the River Kwai, Sayonara and Peyton Place in the big five, was Billy Wilder’s Witness for the Prosecution and Sidney Lumet’s first feature film, 12 Angry Men. This also marked the first time that all five Best Pictures aligned with the Best Director nominees.

Many believed, including herself, that Marlene Dietrich could grab a Best Supporting Actress nomination for Witness for the Prosecution. She did not. It was co-star Elsa Lanchester who filled that slot, nominated alongside her spouse, Best Actor nominee Charles Laughton. 12 Angry Men came away empty-handed too, with just the three nominations. Though it did have the Golden Bear on its mantel from the Berlin International Film Festival.

The winner of Best Actor was Alec Guinness, one of The Bridge on the River Kwai‘s anticipated victors. Taking 7 from a possible 8, David Lean’s film never really looked in doubt. Even though the order of the awards gave Sayonara a significant head-start on the night.

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Not so lucky was Deborah Kerr. Heaven Knows, Mr. Allison marked the fourth of six unsuccessful Best Actress nominations – a record that still stands today. Two of the nominees from 1957, Elizabeth Taylor in Raintree County, and Lana Turner in Peyton Place, marked the recognition of two actresses taken seriously for their work and not just their reputations it seemed.

The tragic irony in that Best Actress race was the marital status of two of the women. Joyfully, Joanne Woodward, for The Three Faces of Eve, deservedly acquired an Academy Award, as well as a brand new husband in Paul Newman. Sadly, Elizabeth Taylor watched the event on the television from her home, her third husband, Mike Todd, having died in a plane crash just a week earlier. In good grace, Taylor sent a note to the 28 year-old Woodward, saying that she was so happy and pleased for her win, signing it: “love Elizabeth Todd – and Mike too.”

Elizabeth Taylor would have her sparkling days at the Oscars. Joanne Woodward went on to receive three more Best Actress nominations in the span of three and a half decades. For Rachel, Rachel (1968), Summer Wishes, Winter Dreams (1973) and Mr. and Mrs. Bridge (1990).

Having apparently assembled her own dress for the 1957 win, Woodward held onto it as she darted to the stage to claim her prize. Another actress would later criticize the green gown, claiming the Oscar-winner was taking fashion back in time. Woodward returned to the Academy Awards 8 years later, flaunting her Travilla dress, and stating: “I hope this makes Joan Crawford happy.”