18th Academy Awards (3-7-46)

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Academy Awards for outstanding film achievements of 1945 will be presented on Thursday, March 7, at the Grauman’s Chinese Theatre in Hollywood.

Nominations for the 18th Academy Awards were announced Sunday, January 27, 1946, by Academy President Jean Hersholt.

anchorsaweighbellsofstmaryslostweekendmildredpiercespellbound

Best Motion Picture

  • “Anchors Aweigh” (Metro-Goldwyn-Mayer)
    Joe Pasternak, Producer

  • “The Bells of St. Mary’s” (RKO Radio)
    Leo McCarey, Producer

  • “The Lost Weekend” (Paramount Pictures)
    Charles Brackett, Producer

  • “Mildred Pierce” (Warner Bros.)
    Jerry Wald, Producer

  • “Spellbound” (United Artists)
    David O. Selznick, Producer

Best Director

  • “The Bells of St. Mary’s” (RKO Radio)
    Leo McCarey

  • “The Lost Weekend” (Paramount Pictures)
    Billy Wilder

  • “National Velvet” (Metro-Goldwyn-Mayer)
    Clarence Brown

  • “The Southerner” (United Artists)
    Jean Renoir

  • “Spellbound” (United Artists)
    Alfred Hitchcock

Best Actor

  • Bing Crosby in “The Bells of St. Mary’s” (RKO Radio)
  • Gene Kelly in “Anchors Aweigh” (Metro-Goldwyn-Mayer)
  • Ray Milland in “The Lost Weekend” (Paramount Pictures)
  • Gregory Peck in “The Keys of the Kingdom” (20th Century-Fox)
  • Cornel Wilde in “A Song to Remember” (Columbia Pictures)

Best Supporting Actor

  • Michael Chekhov in “Spellbound” (United Artists)
  • John Dall in “The Corn Is Green” (Warner Bros.)
  • James Dunn in “A Tree Grows in Brooklyn” (20th Century-Fox)
  • Robert Mitchum in “The Story of G.I. Joe” (United Artists)
  • J. Carrol Naish in “A Medal for Benny” (Paramount Pictures)

Best Actress

  • Ingrid Bergman in “The Bells of St. Mary” (RKO Radio)
  • Joan Crawford in “Mildred Pierce” (Warner Bros.)
  • Greer Garson in “The Valley of Decision” (Metro-Goldwyn-Mayer)
  • Jennifer Jones in “Love Letters” (Paramount Pictures)
  • Gene Tierney in “Leave Her to Heaven” (20th Century-Fox)

Best Supporting Actress

  • Eve Arden in “Mildred Pierce” (Warner Bros.)
  • Ann Blyth in “Mildred Pierce” (Warner Bros.)
  • Angela Lansbury in “The Picture of Dorian Gray” (Metro-Goldwyn-Mayer)
  • Joan Lorring in “The Corn Is Green” (Warner Bros.)
  • Anne Revere in “National Velvet” (Metro-Goldwyn-Mayer)

Best Original Screenplay

  • “Dillinger” (Monogram Pictures)
    Screenplay by Philip Yordan

  • “Marie-Louise” (Praesens-Film)
    Screenplay by Richard Schweizer

  • “Music for Millions” (Metro-Goldwyn-Mayer)
    Screenplay by Myles Connolly

  • “Salty O’Rourke” (Paramount Pictures)
    Screenplay by Milton Holmes

  • “What Next, Corporal Hargrove?” (Metro-Goldwyn-Mayer)
    Screenplay by Harry Kurnitz

Best Screenplay

  • “Mildred Pierce” (Warner Bros.)
    Screenplay by Ranald MacDougall

  • “The Lost Weekend” (Paramount Pictures)
    Screenplay by Charles Brackett

  • “Pride of the Marines” (Warner Bros.)
    Screenplay by Albert Maltz

  • “The Story of G.I. Joe” (United Artists)
    Screenplay by Leopold Atlas, Guy Endore & Philip Stevenson

  • “A Tree Grows in Brooklyn” (20th Century-Fox)
    Screenplay by Frank Davis & Tess Slesinger

Best Motion Picture Story

  • “The Affairs of Susan” (Paramount Pictures)
    Story by Laszlo Gorog & Thomas Monroe

  • “The House of 92nd Street” (20th Century-Fox)
    Story by Charles G. Booth

  • “A Medal for Benny” (Paramount Pictures)
    Story by John Steinbeck & Jack Wagner

  • “Objective, Burma!” (Warner Bros.)
    Story by Alvah Bessie

  • “A Song to Remember” (Columbia Pictures)
    Story by Ernst Marischka

Best Documentary Feature

  • “The Last Bomb” (Warner Bros.)
    First Motion Picture Unit
    Frank Lloyd

  • “The True Glory” (Columbia Pictures)
    Office of War Information, Ministry of Information
    Garson Kanin & Carol Reed

Best Documentary Short Subject

  • “Hitler Lives” (Warner Bros.)
    Don Siegel

  • “Library of Congress”
    Office of War Information
    Alexander Hammid

  • “To the Shores of Iwo Jima” (Warner Bros.)
    U.S. Marine Corps
    Milton Sperling

Best Live Action Short Subject, One-Reel

  • “Along the Rainbow Trail”
    Edmund Reek

  • “Screen Snapshots’ 25th Anniversary”
    Ralph Staub

  • “Stairway to Light”
    Herbert Moulton and Jerry Bresler

  • “Story of a Dog”
    Gordon Hollingshead

  • “White Rhapsody”
    Grantland Rice

  • “Your National Gallery”
    Joseph O’Brien and Thomas Mead

Best Live Action Short Subject, Two-Reel

  • “A Gun in His Hand”
    Chester Franklin

  • “The Jury Goes Round ‘N’ Round”
    Jules White

  • “The Little Witch”
    George Templeton

  • “Star in the Night”
    Gordon Hollingshead

Best Short Subject - Cartoons

  • “Donald’s Crime”
    Walt Disney

  • “Jasper and the Beanstalk”
    George Pal

  • “Life with Feathers”
    Edward Selzer

  • “Mighty Mouse in Gypsy Life”
    Paul Terry

  • “The Poet and Peasant”
    Walter Lantz

  • “Quiet Please!”
    Fred Quimby

  • “Rippling Romance”
    Ray Katz

Best Scoring of a Dramatic or Comedy Picture

  • “The Bells of St. Mary’s” (RKO Radio) Robert Emmett Dolan
  • “Brewster’s Millions” (United Artists) Lou Forbes
  • “Captain Kidd” (United Artists) Werner Janssen
  • “The Enchanted Cottage” (RKO Radio) Roy Webb
  • “Flame of Barbary Coast” (Republic Pictures) Dale Butts and Morton Scott
  • “G. I. Honeymoon” (Monogram Pictures) Edward J. Kay
  • “Guest in the House” (United Artists) Werner Janssen
  • “Guest Wife” (United Artists) Daniele Amfitheatrof
  • “The Keys of the Kingdom” (20th Century-Fox) Alfred Newman
  • “The Lost Weekend” (Paramount Pictures) Miklos Rozsa
  • “Love Letters” (Paramount Pictures) Victor Young
  • “The Man Who Walked Alone” (PRC Pictures, Inc.) Karl Hajos
  • “Objective, Burma!” (Warner Bros.) Franz Waxman
  • “Paris Underground” (United Artists) Alexandre Tansman
  • “A Song to Remember” (Columbia Pictures) Miklos Rozsa and Morris Stoloff
  • “Spellbound” (United Artists) Miklos Rozsa
  • “The Southerner” (United Artists) Werner Janssen
  • “The Story of G.I. Joe” (United Artists) Louis Applebaum and Ann Ronell
  • “This Love of Ours” (Universal Pictures) H. J. Salter
  • “The Valley of Decision” (Metro-Goldwyn-Mayer) Herbert Stothart
  • “The Woman in the Window” (RKO Radio) Hugo Friedhofer and Arthur Lange

Best Scoring of a Musical Picture

  • “Anchors Aweigh” (Metro-Goldwyn-Mayer) Georgie Stoll
  • “Belle of the Yukon” (RKO Radio) Arthur Lange
  • “Can’t Help Singing” (Universal Pictures) Jerome Kern and H. J. Salter
  • “Hitchhike to Happiness” (Republic Pictures) Morton Scott
  • “Incendiary Blonde” (Paramount Pictures) Robert Emmett Dolan
  • “Rhapsody in Blue” (Warner Bros.) Ray Heindorf and Max Steiner
  • “State Fair” (20th Century-Fox) Charles Henderson and Alfred Newman
  • “Sunbonnet Sue” (Monogram Pictures) Edward J. Kay
  • “The Three Caballeros” (Walt Disney, RKO) Edward H. Plumb, Paul J. Smith and Charles Wolcott
  • “Tonight and Every Night” (Columbia Pictures) Marlin Skiles and Morris Stoloff
  • “Why Girls Leave Home” (PRC Pictures, Inc.) Walter Greene
  • “Wonder Man” (RKO Radio) Lou Forbes and Ray Heindorf

Best Original Song

  • “Accentuate the Positive” from “Here Come the Waves” (Paramount Pictures)
    Music by Harold Arlen
    Lyric by Johnny Mercer

  • “Anywhere” from “Tonight and Every Night” (Columbia Pictures)
    Music by Jule Styne
    Lyric by Sammy Cahn

  • “Aren’t You Glad You’re You” from “The Bells of St. Mary’s” (RKO Radio)
    Music by James Van Heusen
    Lyric by Johnny Burke

  • “The Cat and the Canary” from “Why Girls Leave Home” (PRC Pictures, Inc.)
    Music by Jay Livingston
    Lyric by Ray Evans

  • “Endlessly” from “Earl Carroll Vanities” (Republic Pictures)
    Music by Walter Kent
    Lyric by Kim Gannon

  • “I Fall in Love Too Easily” from “Anchors Aweigh” (Metro-Goldwyn-Mayer)
    Music by Jule Styne
    Lyric by Sammy Cahn

  • “I’ll Buy That Dream” from “Sing Your Way Home” (RKO Radio)
    Music by Allie Wrubel
    Lyric by Herb Magidson

  • “It Might as Well Be Spring” from “State Fair” (20th Century-Fox)
    Music by Richard Rodgers
    Lyric by Oscar Hammerstein II

  • “Linda” from “The Story of G.I. Joe” (United Artists)
    Music and Lyric by Ann Ronell

  • “Love Letters” from “Love Letters” (Paramount Pictures)
    Music by Victor Young
    Lyric by Edward Heyman

  • “More and More” from “Can’t Help Singing” (Universal Pictures)
    Music by Jerome Kern
    Lyric by E. Y. Harburg

  • “Sleighride in July” from “Belle of the Yukon” (RKO Radio)
    Music by James Van Heusen
    Lyric by Johnny Burke

  • “So in Love” from “Wonder Man” (RKO Radio)
    Music by David Rose
    Lyric by Leo Robin

  • “Some Sunday Morning” from “San Antonio” (Warner Bros.)
    Music by Ray Heindorf and M. K. Jerome
    Lyric by Ted Koehler

Best Sound Recording

  • “The Bells of St. Mary’s” (RKO Radio) Stephen Dunn
  • “Flame of Barbary Coast” (Republic Pictures) Daniel J. Bloomberg
  • “Lady on a Train” (Universal Pictures) Bernard B. Brown
  • “Leave Her to Heaven” (20th Century-Fox) Thomas T. Moulton
  • “Rhapsody in Blue” (Warner Bros.) Nathan Levinson
  • “A Song to Remember” (Columbia Pictures) John P. Livadary
  • “The Southerner” (United Artists) Jack Whitney
  • “They Were Expendable” (Metro-Goldwyn-Mayer) Douglas Shearer
  • “The Three Caballeros” (Walt Disney, RKO) C. O. Slyfield
  • “Three Is a Family” (United Artists) W. V. Wolfe
  • “The Unseen” (Paramount Pictures) Loren L. Ryder
  • “Wonder Man” (RKO Radio) Gordon E. Sawyer

Best Art Direction - Interior Decoration, Black-and-White

  • “Blood on the Sun” (United Artists)
    Art Direction: Wiard Ihnen
    Interior Decoration: A. Roland Fields

  • “Experiment Perilous” (RKO Radio)
    Art Direction: Albert S. D’Agostino and Jack Okey
    Interior Decoration: Darrell Silvera and Claude E. Carpenter

  • “The Keys of the Kingdom” (20th Century-Fox)
    Art Direction: James Basevi and William S. Darling
    Interior Decoration: Thomas Little and Frank E. Hughes

  • “Love Letters” (Paramount Pictures)
    Art Direction: Hans Dreier and Roland Anderson
    Interior Decoration: Samuel M. Comer and Ray Moyer

  • “The Picture of Dorian Gray” (Metro-Goldwyn-Mayer)
    Art Direction: Cedric Gibbons and Hans Peters
    Interior Decoration: Edwin B. Willis, John Bonar and Hugh Hunt

Best Art Direction - Interior Decoration, Color

  • “Frenchman’s Creek” (Paramount Pictures)
    Art Direction: Hans Dreier and Ernst Fegte
    Interior Decoration: Samuel M. Comer

  • “Leave Her to Heaven” (20th Century-Fox)
    Art Direction: Lyle R. Wheeler and Maurice Ransford
    Interior Decoration: Thomas Little

  • “National Velvet” (Metro-Goldwyn-Mayer)
    Art Direction: Cedric Gibbons and Urie McCleary
    Interior Decoration: Edwin B. Willis and Mildred Griffiths

  • “San Antonio” (Warner Bros.)
    Art Direction: Ted Smith
    Interior Decoration: Jack McConaghy

  • “A Thousand and One Nights” (Columbia Pictures)
    Art Direction: Stephen Goosson and Rudolph Sternad
    Interior Decoration: Frank Tuttle

Best Cinematography, Black-and-White

  • “The Keys of the Kingdom” (20th Century-Fox)
    Arthur C. Miller

  • “The Lost Weekend” (Paramount Pictures)
    John F. Seitz

  • “Mildred Pierce” (Warner Bros.)
    Ernest Haller

  • “The Picture of Dorian Gray” (Metro-Goldwyn-Mayer)
    Harry Stradling

  • “Spellbound” (United Artists)
    George Barnes

Best Cinematography, Color

  • “Anchors Aweigh” (Metro-Goldwyn-Mayer)
    Robert Planck and Charles P. Boyle

  • “Leave Her to Heaven” (20th Century-Fox)
    Leon Shamroy

  • “National Velvet” (Metro-Goldwyn-Mayer)
    Leonard Smith

  • “A Song to Remember” (Columbia Pictures)
    Tony Gaudio and Allen M. Davey

  • “The Spanish Main” (RKO Radio)
    George Barnes

Best Film Editing

  • “The Bells of St. Mary’s” (RKO Radio)
    Harry Marker

  • “The Lost Weekend” (Paramount Pictures)
    Doane Harrison

  • “National Velvet” (Metro-Goldwyn-Mayer)
    Robert J. Kern

  • “Objective, Burma!” (Warner Bros.)
    George Amy

  • “A Song to Remember” (Columbia Pictures)
    Charles Nelson

Best Special Effects

  • “Captain Eddie” (20th Century-Fox)
    Photographic Effects: Fred Sersen and Sol Halperin
    Sound Effects: Roger Heman Sr. and Harry M. Leonard

  • “Spellbound” (United Artists)
    Photographic Effects: Jack Cosgrove

  • “They Were Expendable” (Metro-Goldwyn-Mayer)
    Photographic Effects: A. Arnold Gillespie, Donald Jahraus and R. A. MacDonald
    Sound Effects: Michael Steinore

  • “A Thousand and One Nights” (Columbia Pictures)
    Photographic Effects: Lawrence W. Butler
    Sound Effects: Ray Bomba

  • “Wonder Man” (RKO Radio)
    Photographic Effects: John P. Fulton
    Sound Effects: Arthur Johns

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The Pittsburgh Press (January 28, 1946)

Movie ‘Oscars’ battle opens

Ingrid Bergman, Bing listed

HOLLYWOOD (UP) – Movie queens, actors and directors who made the grade as candidates for 1945 Academy “Oscars” braced themselves today for that long, anxious wait until March 7, when the winners will be handed their gold-plated statuettes.

The nominations, announced last night by Academy President Jean Hersholt, include:

Best Performance by an Actress: Ingrid Bergman in “The Bells of St. Mary’s”, Joan Crawford in “Mildred Pierce,” Greer Garson in “The Valley of Decision,” Jennifer Jones in “Love Letters” and Gene Tierney in “Leave Her to Heaven.”

Best Performance by an Actor: Bing Crosby in “The Bells of St. Mary’s,” Gene Kelly in “Anchors Aweigh,” Ray Milland in “The Lost Weekend,” Gregory Peck in “The Keys of the Kingdom,” and Cornel Wilde in “A Song to Remember.”

Best Picture “Anchors Aweigh,” “The Bells of St. Mary’s,” “The Lost Weekend,” “Mildred Pierce,” and “Spellbound.”

“The Bells of St. Mary’s,” starring both Crosby and Miss Bergman and directed by Leo McCarey, was named for honors in four of six major classifications.

Three of the actresses nominated by their fellow actors and actresses, and moviemakers, already have “Oscars” for doorstops or mantel decorations, the Misses Jones, Garson and Bergman.

Other nominations included:

Best achievement in directing: Leo McCarey for “The Bells of St. Mary’s,” Billy Wilder for “The Lost Weekend,” Clarence Brown for “National Velvet,” Jean Renoir for “The Southerner,” and Alfred Hitchcock for “Spellbound.”

Best Screenplay: “G.I. Joe” by Leopold Atlas, Guy Endore and Philip Stevenson; “The Lost Weekend” by Charles Brackett and Billy Wilder; “Mildred Pierce” by Ranald MacDougall; “Pride of the Yankees” by Albert Maltz, and “A Tree Grows in Brooklyn” by Tess Slesinger and Frank Davis.

Some 9,000 moviemakers have until February 11 to get their final votes in. On March 7, the winners will be announced from the stage of Grauman’s Chinese Theater and the losers will try to pretend these “Oscars” don’t mean anything anyway.

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The Pittsburgh Press (February 22, 1946)

‘Dark Horse’ Eve raises a squawk

By Erskine Johnson

HOLLYWOOD – Someone was congratulating Eve Arden on being the dark horse in the Academy Award supporting role race for her performance in “Mildred Pierce.” “Look,” pouted Eve, “when I wear a new gown, they call me a clothes horse. When I give a good performance, they call me a dark horse. Why don’t they simply put blinkers on me and enter me at Santa Anita?”

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The Pittsburgh Press (February 24, 1946)

Jimmy Dunn at his best when acting with moppets

HOLLYWOOD (UP, Feb. 23) – Jimmy Dunn, whose comeback performance as Johnny Nolan in “A Tree Grows in Brooklyn,” won him high acclaim from film critics, has emerged as one of the top contenders for an Academy Award as the best supporting actor of 1945.

Now fully recovered from a serious illness which kept him out of film roles for nearly six months, the jovial Irishman expects to resume his screen career again.

Thousands of faithful fans set up a clamor for recognition of Dunn’s superb performance in the “Tree.” Some said his portrayal of the chronic drunkard and his love and devotion for his screen daughter, Peggy Ann Garner, reached a greatness in realism seldom seen on the screen.

Coincidentally, Dunn’s greatest screen successes have been with juvenile actresses – first Shirley Temple and now Miss Garner.

Lucky break

Back in 1931, a stroke of luck put Jimmy, a young unknown, into the male lead of “Bad Girl.” It made him a star overnight, and in the next four years he appeared in 20 pictures and became one of the most popular personalities on the screen.

Probably his best remembered pictures during those four years were the ones with Shirley Temple – “Stand Up and Cheer,” “Baby Take a Bow” and “Bright Eyes.”

But in the merger of 20th Century and Fox studios, late in 1935, Dunn became the forgotten man and found himself out of a job.

In stage success

After nine lean years of stage engagements, Dunn got one of the lead roles in the Broadway production of “Panama Hattie.” He played to capacity audiences for 87 weeks.

Then he came back to Hollywood and made a test with Miss Garner for the difficult roles in the “Tree.” Both got the jobs.

Still as handsome as when he first became a star, and with the same infectious smile, Dunn looks little older than he did 10 years ago. He weighs the same – 157 pounds.

A native New Yorker, Dunn lives in Hollywood with his wife and mother. He is an expert aviator, with 750 flying hours to his credit.

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The Pittsburgh Press (February 25, 1946)

Film award winner faces driving charge

HOLLYWOOD (UP) – Motion Picture Academy Award winner Leo McCarey appears in West Los Angeles Municipal Court today to face a charge of drunkenness.

McCarey was taken into custody on complaint of restaurant manager Bob Ensign, who accused the writer-director of creating a disturbance in front of his establishment.

Last April, McCarey was fined $200 for reckless driving.

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The Evening Star (March 3, 1946)

Unanimous choice

Everyone says he’ll win Academy Award but superstitious Ray Milland
By Sheilah Graham

HOLLYWOOD – I believe Ray Milland will win the Academy Award this coming week as the best Hollywood actor for his performance in “The Lost Weekend.” That is what all Hollywood believes. And that, from a recent trip I took East, is what New York and Chicago and Philadelphia believe.

I’d like to tell you that Ray also believes he’ll win. But before imbibing a cocktail (yes, I said a cocktail) with Ray in his elegant Paramount dressing room, I was warned not to bring up the subject. I gather that Ray is superstitious and that, while he wants to win the gold Oscar more than anything in the world, he is afraid that if he talks about it he won’t.

But it is okay to talk about the picture. I ask Ray, “How did you get the role of Don, the dipsomaniac in ‘The Lost Weekend’?” Many people have wondered why Ray was chosen for the role. Until that picture, Milland was better known for light, frothy comedy, although there is nothing light or frothy about Ray himself.

“It was a lucky break,” Ray replies. So I question Charles Brackett, who produced and wrote the picture (with Billy Wilder, director). “There was never any thought of another actor,” Brackett tells me. “Everyone knew Ray would be good. Put a good light-comedy actor into a more serious role and he usually does well. Bing Crosby, for instance – in ‘Going My Way’ and ‘The Bells of St Mary’s.’”

Chosen for marksmanship

Milland has worked in Hollywood movies for 15 years, although this is the first year that he has been nominated for an Academy Award. But it was another Academy Award picture – “The Informer,” when made in England – that resulted in the Hollywood trio for the Welsh-born actor. In that first version Ray played an extra.

“They wanted someone to double for the hero in a shooting scene,” says Ray. who was chosen because of his marksmanship. Ray had then just resigned from the swank Horse Guards wherein every man must be more than six feet tall but where, if you haven’t much money life is rather dull.

“My father allowed me 20 pounds a month,” Ray tells me. “That wasn’t very much for a young man with expensive tastes. One night I had a date with Estelle Brody (an American actress in London) and I told her, ‘Better enjoy this evening because it’s the last time.’ When I explained that I was busted she asked me if I had ever thought of acting. ‘No.’ I replied. She made a date for me to come to the studio in London where she was making a picture and I was hired as an extra.” When Victor McLaglen’s brother was ill and unable to play a part in “The Flying Scotsman,” Ray got the role. A part in a London musical followed, and then a talent scout sent him to Hollywood for a nonspectacular role in “Bought.”

Down to last dime

Hollywood remained blissfully unaware that it had a future academy winner around in the person of Milland, who, by this time, had changed his name from its original Reginald Truscott-Jones – he took the Milland from the “mill lands” near his home in Neath, Wales. The “Ray” was suggested by Pete Smith, famed producer of shorts.

“Came the time,” says Ray, “when I was down to my last dime.” He used that dime to ride a bus to a Los Angeles service station – for a job. On that bus was also riding the casting director of Paramount. That was 13 years ago. Ray is still under contract to Paramount.

There are other things on Ray’s mind right now, apart from the academy awards. He is building a house in Beverly Hills. And he is buying a new yacht and is pondering on a name for the latter. When I suggest “The Lost Weekend,” he shudders.

“My house will be small, only nine rooms. There will be three bedrooms – a guest room, one to myself and my wife, and one to our boy. It will be semitropical in design, with a white roof.” Ray earns more than most actors in Hollywood, but is careful with his money. He gets indignant when made to pay inflated prices for anything.

“I stayed at Claridge’s when I was in London,” says Ray, “and the place was full of kings, but that was no excuse for charging me $3 for a small drink.” Things were worse in Paris, where Ray had to pay several hundred francs for each meal. He likes America best, and he will leave only to make an occasional picture in England.

Fifteen years ago, Ray married Muriel Webber. He calls her Mal. They separated not very long after Ray had completed “Lost Weekend.” “I’d lost a lot of weight for the picture and was near a breakdown,” Milland explains, meaning that he was difficult to live with. And difficult to interview at that time, which is why he was nominated as the least co-operative actor by the Hollywood Women’s Press Club. But everything is now serene with Ray and Mal and he is no longer moody with members of the press.

Prior to leaving, I ask Ray whether his role of the drunk in “The Lost Weekend” had any effect on his own drinking habits. “After I read the book, it made me want to drink more,” he replies, “but after the picture came out, I was so sick of talking and hearing about liquor that it certainly did not make me want to drink more.”

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The Pittsburgh Press (March 6, 1946)

Kaspar Monahan: Ray Milland and “The Lost Weekend” are believed to be in the front-running for Oscar Awards to be presented tomorrow evening at the Academy affair in Grauman’s Chinese Theater in Hollywood. But Bing Crosby in “Bells of St. Mary’s” is given a fair chance. Joan Crawford is reported to be the leading contender for “best actress” for her role in “Mildred Pierce,” with Ann Blythe winning an Oscar in the same film for the best-supporting-actress division. That’s the dope – but it may be all wrong. If you’re really interested and want to stay up late for the returns, why tune in on the jamboree, 12:30 to 1:30 a.m. (Friday) over WCAE. Me – I think I can wait until the next day for the world-shaking results…

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The Waterbury Democrat (March 7, 1946)

Wavelets

By Bill Farrington

The crowning entertainment event of the year In Hollywood – the annual presentation of the Motion Picture Academy of Arts and Sciences Awards (“Oscars”) – will be broadcast in its entirety again this year by WATR-ABC tonight (after midnight), from 12:30 to 1:30 a.m.

Originating from the stage of Grauman’s Chinese Theater, the broadcast again will feature the “cinemontage,” which was employed last year with such telling effect for the announcement of nominations.

Representative scenes showing the actors and actresses in the pictures for which they were nominated will be flashed on the screen, with the sound tracks being heard on the air programs. As the scenes at each awards event are concluded, the name of the winner will be announced, the lights in the theater will go on, and the award presented.

Nominations for this year’s awards are:

Best Picture: MGM’s “Anchors Aweigh,” RKO’s “The Bells of St. Mary’s,” Paramount’s “The Lost Weekend,” Warner Brothers’ “Mildred Pierce” and United Artists’ “Spellbound”.

Best Performance by an Actor: Bing Crosby, Gene Kelly, Ray Milland, Gregory Peck and Cornel Wilde;

Best Performance by an Actress: Ingrid Bergman, Joan Crawford, Greer Carson, Jennifer Jones and Gene Tierney.

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Winners of the 18th Academy Awards

Academy Awards for outstanding film achievements of 1945 were presented on March 7, 1946 at the Grauman’s Chinese Theatre in Hollywood and was broadcast live by ABC beginning at 9:30 p.m. PST.

Academy Honorary Award

image Walter Wanger for “distinguished service”

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Academy Honorary Award

image “The House I Live In” (RKO Radio)

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Academy Honorary Award

image Republic Studio, Daniel J. Bloomberg and the Republic Studio Sound Department

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Best Cinematography, Black-and-White

image “The Picture of Dorian Gray” (Metro-Goldwyn-Mayer), Harry Stradling

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Best Cinematography, Color

image “Leave Her to Heaven” (20th Century-Fox), Leon Shamroy

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Best Art Direction - Interior Decoration, Black-and-White

image “Blood on the Sun” (United Artists)
Art Direction: Wiard Ihnen
Interior Decoration: A. Roland Fields

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Best Art Direction - Interior Decoration, Color

image “Frenchman’s Creek” (Paramount Pictures)
Art Direction: Hans Dreier and Ernst Fegte
Interior Decoration: Samuel M. Comer

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Best Documentary Feature

image “The True Glory” (Columbia Pictures)
Office of War Information, Ministry of Information
Garson Kanin & Carol Reed

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Best Documentary Short Subject

image “Hitler Lives” (Warner Bros.)
Don Siegel

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Best Film Editing

image “National Velvet” (Metro-Goldwyn-Mayer)
Robert J. Kern

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Best Live Action Short Subject, One-Reel

image “Stairway to Light”
Herbert Moulton and Jerry Bresler

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Best Original Song

image “It Might as Well Be Spring” from “State Fair” (20th Century-Fox)
Music by Richard Rodgers
Lyric by Oscar Hammerstein II