I hadn't realised in the many times I've seen this film how long the takes are, allowing extra concentration on the acting. Russell, whose only film this was, received a special Oscar but also won for Best Supporting Actor. Wyler holds the record for directing actors to Oscars (13*): March also won, as did Robert Sherwood's brilliant screenplay and Daniel Mandell's editing, though because of all the long takes, there probably wasn't as much work to do editing as on a normal film?
What is quite remarkable (and it's not the first such occasion) is that Gregg Toland's incredible deep focus photography was completely overlooked by the Academy (but not by the filmmaker, who in recognition gave him a full screen credit). Look at this shot: we're more interested in what's going on in the far, far background as Andrews breaks it off with March's daughter Teresa Wright then the foreground conversation:
And in the climactic wedding scene, the deep focus allows us to consider the thwarted relationship between Andrews and Wright:
This wonderful shot helps us to appreciate Wright's growing disgust of Andrews' money-grabbing wife Virginia Mayo:
#
For such a serious film it also has some great humour (modern film writers please take note). Myrna Loy: "They make a lovely couple!"
The Oscar-winning score by Hugo Friedhofer isn't one you'll rush out and buy but it most successfully underscores the emotion.
Also with Hoagey Carmichael, Cathy O'Donnell (sympathetic fiancée), Ray Collins (bank boss).
* They were:
Greer Garson and Theresa Wright in Mrs Miniver
Harold Russell and Frederic March The Best Years of our Lives
Bette Davies and Fay Bainter in Jezebel
Audrey Hepburn in Roman Holiday
Burl Ives in The Big Country
Barbara Streisand in Funny Girl
Walter Brennan in Come and Get It
Olivia de Havilland in The Heiress
Charlton Heston and Hugh Griffith in Ben Hur
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