Countdown to the Oscars: The Birth of the Academy Awards
The Academy Awards, widely known as the «Oscars,» are the most famous and prestigious competitive awards in the entertainment industry. Given annually by the Academy of Motion Picture Arts and Sciences, they are an international recognition of excellence in cinematic achievements. In anticipation of the 93rd Academy Awards ceremony, which will be held three weeks from today, on April 25, here is the story of how it all began.
Part I: Louis B. Mayer and the creation of the Academy
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Some of the founders of the Academy: Mary Pickford, Douglas Fairbanks, Cecil B. DeMille, Irving Thalberg, Jesse L. Lasky and Jack Warner. |
Part II: The first Academy Awards ceremony
Although the Academy's initial concerns had to do with labour negotiations, those issues were soon put aside in favour of awards to honour artistic accomplishment within the industry.
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(from left to right) The 1st Academy Awards ceremony at the Blossom Room in May 1929; menu of the first Academy Awards banquet. |
The first Academy Awards ceremony was held on May 16, 1929 at the Blossom Room of the Roosevelt Hotel in Los Angeles. It consisted of a private banquet for 270 guests, who were served a surprisingly simple menu. The meal began with a selection of olives and nuts, as well as celery and rolls. Next came a bowl of consommé Celestine, followed by the standard fish and chicken options. In this case, there was sole fillet sautéed in butter and half broiled chicken on toast. Accompaniments included green beans, potatoes, and a lettuce and tomato salad. For dessert, there was vanilla and chocolate ice cream, a selection of cakes, and coffee. Since Prohibition had not yet been lifted, no alcoholic drinks were served that night.
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Cedric Gibbons, the creator of the Academy Award statuette. Gibbons went on to win 11 Oscars himself, out of a total of 39 nominations. |
Unlike later ceremonies, artists could be nominated and awarded either for work in a single film or across multiple films, or even without reference to any specific film. Every movie that played at a theatre in Los Angeles between August 1, 1927 and August 1, 1928 was eligible for a nomination in the Best Picture category — except The Jazz Singer (1927). The groundbreaking musical was disqualified because it was thought that it would be unfair to let «talkies» compete with silent movies. It did, however, receive a nomination for Best Writing (Adaptation) and producer Daryl F. Zanuck won an honorary award for pioneering talking pictures.
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Wings was the first ever Best Picture winner. It is the only (completely) silent film to win the award. |
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(from left to right) Douglas Fairbanks handing Janet Gaynor her Academy Award; Janet Gaynor with her Oscar statuette. |
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(from left to right) Emil Jannings with his Academy Award; theatrical release posters for The Last Command and The Way of All Flesh. |
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(from left to right) Frank Borzage with his Oscar; Douglas Fairbanks handing Lewis Milestone his Academy Award; Lewis Milestone with his statuette. |
The award for Best Writing was divided into three categories: Original Story, Adaptation and Title Writing. The winners were, respectively, Ben Hecht for Underworld (1927), Benjamin Glazer for 7th Heaven, and AMPAS founding member Joseph Farnham (for no specific work). The Title Writing category was eliminated from all subsequent ceremonies, as the transition to sound eliminated that component of movie making.
The statuette for Best Art Direction was given to William Cameron Menzies for his work on The Dove (1927) and Tempest (1928). Menzies is credited with having coined the job title «production designer» and was a pioneer in the use of colour for dramatic effect in filmmaking.
The statuette for Best Art Direction was given to William Cameron Menzies for his work on The Dove (1927) and Tempest (1928). Menzies is credited with having coined the job title «production designer» and was a pioneer in the use of colour for dramatic effect in filmmaking.
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(from left to right) Joseph Farnham receiving his Academy Award from Douglas Fairbanks; William Cameron Menzies with his Oscar. |
Part III: The aftermath
As the Academy grew in membership and became more active in industry politics, it moved further away from involvement in labour-management arbitrations and negotiations. Although it was technically an intermediary organization, not a company union, the fact that it was completely created by the studios meant that it could hardly be impartial in negotiations and could easily serve as a means of combating legitimate unionization. As a result, the Academy delayed serious labour negotiations in the movie industry for years.
As a creation of the studios, the voting by the Academy could be swayed by the wishes of the most powerful of those studios. Indeed, as far as Louis B. Mayer was concerned, the Academy was about manipulation, but for immediate MGM-related goals rather than distant, generic Hollywood goals. Mayer later said,
«I found that the best way to handle [moviemakers] was to hang medals all over them. If I got them cups and awards, they'd kill them to produce what I wanted. That's why the Academy Award was created.»
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SOURCES:
Clara Bow: Runnin' Wild by David Stenn (Cooper Square Pess, 2000)
Lion of Hollywood: The Life and Legend of Louis B. Mayer by Scott Eyman (Simon & Schuster, 2005)
Mary Pickford: Canada's Silent Siren, America's Sweetheart by Peggy Dymond Leavey (Dundurn Press, 2011)
The Man and His Wings: William A. Wellman and the Making of the First Best Picture by William A. Wellman Jr. (Greenwood Publishing Group, 2006)
The Oscars: The Pocket Essential Guide by John Atkinson (Pocket Essentials, 2005)
https://www.oscars.org/academy-story https://www.filmsite.org/aa27.html
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