Academy Awards

Organized in 1927 to promote mutual understanding between the various branches of the industry, the high-sounding Academy of Motion Picture Arts and Sciences now exists mainly for an annual banquet at which its 700 members can gorge, guzzle and gratify their egomania by awarding prizes for meritorious cinema performances. Last month it looked as if this year's banquet might degenerate into an open brawl. Cliques in the Academy objected to the six nominations for best performances because Bette Davis, Shirley Temple, George Arliss and others were omitted. The Awards Committee quickly changed its rules to permit members to "write in" their votes, regardless of nominations. Last week, at the Biltmore Bowl in Los Angeles, the Academy banquet went off with no more disorder than is customary.

Of the 16 awards, valued by Hollywood purely for the publicity attached to winning them, five went to Columbia's famed comedy, It Happened One Night (TIME, Feb. 26, 1934): production; direction (Frank Capra); performances (Claudette Colbert & Clark Gable); adaptation (Robert Riskin). Columbia got two more, best musical scoring and sound recording, with One Night of Love. Best original story was Manhattan Melodrama by Arthur Caesar. Best shorts were The Tortoise and the Hare, La Cucaracha, City of Wax. Best song was "The Continental."

To Cinemactress Shirley Temple went a special gold statuette. Said Toastmaster Irvin S. Cobb: "When Santa Claus did you up in a package and dropped you down Creation's chimney, he brought the loveliest Christmas present that I can think of in all the world. . . . I'll give you this, if you'll give me a kiss." Said stoic Shirley Temple, up three hours after bedtime: "Thank you . . . very much." When Claudette Colbert received her prize, she burst into tears. Said Clark Gable: "It's a grand and glorious feeling but I'll be wearing the same size hat tomorrow."

Absent from the banquet was Columbia's expert Scenarist Robert Riskin who also collaborated with Director Frank Capra on Lady for a Day, Broadway Bill and whose The Whole Town's Talking last week had its Manhattan premiere (see below). Now 40, Scenarist Riskin was brought up in Baltimore, attended Columbia University for two years. After 15 years as a cinema director, playwright, free-lance producer and scenarist, he struck his stride with Lady for a Day, has since become one of Hollywood's highest-paid writers.* He lives at the Beverly Wilshire Hotel, plays expert tennis, writes longhand. Says he: "In writing for the stage there is an enormous satisfaction. . . . Adapting stories for the screen is often a thankless job. . . ."

*A crack scenarist like Riskin makes about $2,000 per week.

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