Flavor #10 - Watch Cimarron and Gigi. Compare and contrast.

Watch both Cimarron (1931 Best Picture Winner) and Gigi (Best Picture Winner from the 31st Annual Academy Awards) - compare and contrast - Brett Shearer, Inland Empire CA

It seems my brother, Brett, and I have always had a very similar passion for movies; my interests usually lean towards the performance side of things, while his fixate on the story and direction. In high school he wrote and directed mini-movies for slew of class projects, everything from war epics to murder mysteries. I, the hopeful actress, was usually granted the sole, female role, whether it was simple bar wench or an unsuspecting Pogoball bouncer (who, unfortunately, was hacked into little pieces). Two grownups and two degrees later, his in film direction and mine in acting, we're still as passionate...and opinionated as ever.

When I asked Brett to contribute to my 31 Flavors list, he submitted several quirky suggestions ranging from, "Petition Hostess to bring back Blueberry Fruit Pies" to "Read 31 comic books." Finally I settled on: "Watch both Cimarron (1931 Best Picture Winner) and Gigi (Best Picture from the 31st Annual Academy Award) - compare and contrast." Besides loving the literal play on the "31" theme, I felt that the suggestion reflected the deeply rooted commonality between my brother and I.

Because Cimarron and Gigi are both Oscar Winners, I felt the most appropriate time to watch them was the night of the 2010 Academy Awards. So, while the rest of the movie lovers were watching Sandra Bullock win Best Actress for The Blind Side, I was holding a little Oscars of my own for two critically acclaimed classics from years past.

And the nominees are...

Best Writing (Adapted) screenplay:

Howard Estabrook (Cimarron): An epic drama about Yancey Cravat, a restless newspaper editor/lawyer and his reluctant wife, Sabre, tackling the newly settled Oklahoma territory at the end of the 19 century. A fervent cluster of land rushes, gunfights and court trials, Cimarron is a solemn struggle that covers a wide spectrum of worldly issues in its 131 minutes.

Alan Jay Lerner (Gigi): A vibrant musical comedy about the unexpected romance between Gigi, a french courtesan-in-the-making, and Gaston, a rich bachelor who has grown weary of Parisian superficiality. Rich and snappy, this Lerner/Loewes collaboration creates a charming commentary on the thing the Parisian's "won't live without": love.

And the Oscar goes to...

GIGI

It seemed as though Cimarron was trying to fight too many battles, physically and figuratively. There's racism towards African and Native Americans, discrimination against women and Jews; you name it. These cinematic sermons, usually force fed by Yancey , felt strained and quite often melodramatic. Gigi was fresh and fun, and I found much more satisfaction in the characters' thoughtfully conceived, inner battles. The clever writing even helped me to swallow the Gigi's "training," without too much moral reflux.

Best Cinematography/Sound Editing

Cimarron: The first scene opens on the Oklahoma Land Rush. An overwhelmed but eager camera tries to keep up with horses and wagons as they race across the vast, gray, territory. The rest of the film's dramatic action, large or small, is gulped down in much the same way: in wide-angle shots. And while the shots are bold, the accompanying sound crackles like an old record and the spoken dialogue barely floats above a steady stream of static.

Gigi: The story is pieced together with strong panoramic views, showing off the treasures of Paris; as well as tightened close-ups, honoring the more detailed moments. The camera respects the nature of the musical world, and does its best to capture the flavor of each song. The transition from these songs to spoken word are rather seamless despite the obvious studio recording quality.

And the Oscar goes to...

GIGI

Although Cimarron had exciting shots of cowboys on horseback, the angles seemed to run parallel to the action instead of getting in the midst of it. Sometimes a scene fell flat because the shot couldn't accurately portray the significance of the moment. In Gigi, the camera seemed to break that barrier: participating in the large, curtain-stopping scenes, and quietly observing the smaller, more intimate moments.

In addition to the camera's limitations, intimate moments in Cimarron were drowned out by so many different sounds competing for my attention. Except for the dialogue and music, Gigi was marvelously silent. And not only did it have the complexity of mixing music with dialogue, it also had the added duty of dubbing a different voice in for Leslie Caron during "Say A Prayer for Me Tonight." All of this was done with very little technical interference.

Best Costume/Makeup:

Cimarron: Yancey Cravat arrives on the scene, large in stature and in even larger makeup. His darkened eyebrows and painted lips sharply contrast his chalky skin. The other characters, though not quite as severe, all look a little out of place in this hot and dusty Midwest. Their western garb transforms over 4 decades: Yancey's ivory-handled pistols and Sabre's sturdy dresses of the 1890s, eventually simplify into the suits and shift dresses of the 1920s.

Gigi: All of the characters are polished to perfection. The men are perfectly bronzed and the women are peaches and cream. Each scene is brimming with high fashion, and the gossip scene at Maxim, stuffed with feathers and sparkles, is no exception. The men are starched and pressed, accessorized with eye pieces and canes; the women are draped in bolts of embroidered satin and frills, topped with flashy head bands and hats.

And the Oscar goes to...

MAKEUP: CIMARRON

Though Gigi's cheeks were always rosy and Gaston's tan was flawless, there wasn't much of a variance throughout the show, except maybe longer lashes for the "more womanly" Gigi. Throughout Cimarron, Sabre and Yancey age over forty years and had the limitations of black and white film working against them. I give them the Oscar for their effort. The fact that I'm a fan of Zombie Horror may have something to do with it.

COSTUME: GIGI

I'm not sure that Cimarron, a dusty western, even had a chance against elegant french fashion, but what really swayed me was Gigi's evolution from a flouncing tomboy in a striped skirt, to a graceful young woman in form-fitting eyelet. This breathtaking evolution is observed by Gaston who stubbornly compares her to a swollen grape, but then unavoidedly recalls how the exquisite dress, "...clung on one so young."

Best Original Song: Lyrics by Alan Jay Lerner, Music by Frederick Loewe

Thank Heavens for Little Girls (Gigi): Both the opening and closing song, Honore Lachaille croons about the romantic promise of youth, foreshadowing Gigi's transformation from awkward teenager to enchantress.

Lyric: Thank heaven for little girls, for little girls get bigger everyday

Gigi (Gigi): Gaston's passionate soliloquy that evolves from fitful denial to elated wonderment.

Lyric: Gigi, have I been standing up too close or back too far?
Waltz at Maxim's (She Is Not Thinking of Me) (Gigi): A deceptively merry waltz underscored by Gaston's brooding distrust of his latest birdbrained mistress.

Lyric: She's so ooh la la la la, So untrue la la la la!

And the Oscar goes to...

'THANK HEAVEN FOR LITTLE GIRLS"

And thank heaven for Frederick Loewe's sweet! blessed! underscoring; the music was such a welcomed contrast to the almost deafening silence of Cimarron.

The Best Actress in a supporting role:

Hermione Gingold (Gigi): As Madam Alvarez, Gigi's wise and protective grandmother. Although once one of the most admired courtesans of her generation, she struggles with Gigi sharing her same fate.

Estelle Taylor (Cimarron): As Dixie Lee, the notorious town prostitute who will dare anything to leave her rowdy past behind.

And the Oscar goes to...

ESTELLE TAYLOR

I found it interesting that even though these two movies were set in approximately the same time period, courtesans are condemned in one part of the world and glorified in the other. Although Hermione Gingold's hootie charm and clever delivery make for a delightful performance, I have to subtract a few points for her British accent when she's supposed to be French. Estelle Taylor's portrayal of the downtrodden but hopeful Dixie Lee, was the only engaging story in Cimarron. This sultry sinner tricks Yancey, steals his horse, and claims his land. How could Madam Alvarez compete with that?

Best Actor in a supporting role:

Maurice Chevalier (Gigi): As Honore Lachaille, Gaston's charming uncle, and all-knowing Narrator. He opens and closes the the show with a twinkle in his eye, giving insightful commentary about the way love is done in Paris. Though forever youthful and therefore forever after youthful women, he is somewhat still affected by his attachment to Madam Alvarez.

Eugene Jackson (Cimarron): As Isaiah, the black child servant who stows away with the Cravat family to experience a better life. Extremely loyal to Yancey, he ultimately gives his life attempting to rescue the Cravat toddler from crossfire.

And the Oscar goes to...

EUGENE JACKSON

Though Maurice Chevalier might have charm in abundance, I think Eugene Jackson deserves the Oscar for enduring such a stereotypical caricature of a black servant. He added much needed humor to the film, but most likely at the expense of his pride.

Best Actress in a leading role:

Leslie Carron (Gigi): As Gigi, the precocious courtesan-in-training who, questioning the Parisian's definition of love, rebels against her predetermined fate.

Irene Dunn (Cimarron): Playing Sabre Cravat, Yancey's long suffering and at times intolerant wife, who in Yancey's absence becomes self-reliant and eventually a benevolent member of congress.

And the Oscar goes to...

LESLIE CARON

Although a huge fan of Irene Dunn, her character, who was always playing second fiddle to Yancey, wasn't given the chance to fully develop. I believe had she had better material, her performance would have been much more stimulating. In contrast, Leslie Caron's character journeyed from "that funny, awkward girl" who Gaston knew, to the "miracle" who stole his heart. Through musical treats like, "The Night they invented Champaign," Caron shows off her childlike charm, then masterfully sheds the girl to reveal the woman, confessing, "I would rather be miserable with you than without you."

Best Actor in a leading role:

Richard Dix (Cimarron): As Yancey Cravat, the newspaper editor, lawyer, gunslinger, and preacher rolled up into one. When he isn't shooting up bad guys, defending prostitutes, or giving his life to save his fellow workers, he's making long winded speeches about his ideals.

Louis Jourdan (Gigi): As Gaston LaChaille, rich playboy bored with unfaithful mistresses and Parisian politics. When he falls for the precocious courtesan-in-training, Gigi, Gaston must reevaluate his comfortable and spoiled views on love.

And the Oscar goes to...

LOUIS JOURDAN

Although Yancey demonstrates a powerful presence, necessary for a leading man, his performance seems to be better suited for the stage or the silent film era. During his flashy courtroom scene his rigorous head shaking comes off as campy. Louis Jourdan balances his humorous character moments (It's a Bore) and tender dramatic moments (Gigi) with skill. Unlike Yancey, his adventures are those of the heart, and his sacrifice for the one he loves fulfills him for the first time in his life.

Also, anyone who can pull off exclaiming "Gigi" ten times in a song, with such sweet sincerity, gets my vote.

Best Director/Picture:

Vincent Minelli (Gigi)

: Minelli's artful direction, rich script and flavorful cast creates a feast for the eyes and heart.

Wesley Ruggles (Cimarron): The tagline reads, "The World's Mightiest Show," and that's exactly what Ruggles attempted. The story is mighty, the acting is mighty, the shots are mighty, and Yancey is the mightiest of them all.

And the Oscar goes to...

GIGI

After the many gray shades of Cimarron, Gigi was like cool water on a parched throat. Everything was in full bloom: the story, the scenery, as well as the performances. While technicolor and thirty years of experience may have given it an unfair advantage, I felt the film's greatest strength was not the technical advances of the day, but the development of it's characters and their relationships with each other: two things that Cimarron lacked.

Now, no Oscar ceremony would be complete without an acceptance speech, so here we go:

I would like to thank Google for allowing me to blog on their site for free. I would also like to thank my family and friends for their love and support of my crazy 31 Flavors adventure. I would especially like to thank my brother, Brett for believing in me and casting me in his shows. If it wasn't for him, Flavor #10 wouldn't have been possible. Lastly, I'm grateful for this crazy year because it's taught me that life might not always be as sweet as a French pastry, but it is anything but a bore!