1930-1931: Year Four

Ready for a long, in-depth searching of my lazy-ass soul?

Sorry — not going to happen this year. The only category I skipped (sort of) was Best Sound Recording, but you tell me how I was supposed to pick a winner…when they didn’t nominate ANY films?!?

That’s right. Not a single film was nominated. Only the companies. Paramount got it this year. The Academy Awards Database doesn’t have any insight either — all they say is “This award was not associated with any specific film title.” [http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime=1386575424124].

So, basically, once again, we get some glad-handing of an Oscar. As in, oh look, Paramount needs one of these Oscar thingies. Let’s give them one in Sound Recording. But shhhhhhhh…don’t tell anybody which movie it’s for!

Well, screw that. Which movie could it have been for? Here’s a list of all the movies Paramount made that were nominated in this period of eligibility: Laughter (a horrible soundtrack, but a good role for Fredric March); Morocco (Marlene Dietrich, twisting sexual identity with Gary Cooper); The Right to Love (lost, except for one reel); Skippy (the source of the peanut butter, and a solid case for a child abuse lawsuit against the director); and Tabu (naked natives, anybody?).

The one film that stands out as a showcase for recording has to be for Morocco, although I will never be able to take Dietrich’s voice without thinking of Lili von Schtupp from Blazing Saddles (“It’s twue! It’s twue”).

For Morocco, we can see at least one reason why Paramount got the Oscar. After all, the sound man was probably losing control of his gender every time he recorded her…

Hear for yourself:

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