The Oscars Academy Awards: 1935

The Academy Awards:
Academy of Motion Picture Arts and Sciences

1935 (8th)

Clark Gable -- Mutiny on the Bounty {"Fletcher Christian"}

Charles Laughton -- Mutiny on the Bounty {"Captain Bligh"} [came in 3rd]

*	Victor McLaglen -- The Informer {"Gypo Nolan"}

Paul Muni -- Black Fury {"Joe Radek"} [came in 2nd]

[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]

Franchot Tone -- Mutiny on the Bounty {"Roger Byam"}

ACTRESS

Elisabeth Bergner -- Escape Me Never {"Gemma Jones"} [came in 3rd]

Claudette Colbert -- Private Worlds {"Jane Everest"}

*	Bette Davis -- Dangerous {"Joyce Heath"}

Katharine Hepburn -- Alice Adams {"Alice Adams"} [came in 2nd]

Miriam Hopkins -- Becky Sharp {"Becky Sharp"}

Merle Oberon -- The Dark Angel {"Kitty Vane"}

ART DIRECTION

*	The Dark Angel -- Richard Day

The Lives of a Bengal Lancer -- Hans Dreier, Roland Anderson [came in 3rd]

Top Hat -- Van Nest Polglase, Carroll Clark [came in 2nd]

ASSISTANT DIRECTOR

David Copperfield -- Joseph Newman [came in 3rd]

Les Miserables -- Eric Stacey

*	The Lives of a Bengal Lancer -- Clem Beauchamp, Paul Wing

A Midsummer Night's Dream -- Sherry Shourds [came in 2nd]

[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]

CINEMATOGRAPHY

Barbary Coast -- Ray June

The Crusades -- Victor Milner [came in 3rd]

Les Miserables -- Gregg Toland [came in 2nd]

*	A Midsummer Night's Dream -- Hal Mohr [NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]

DANCE DIRECTION

Busby Berkeley -- "Lullaby of Broadway" and "The Words Are In My Heart" numbers from Gold Diggers of 1935 [came in 3rd]

Bobby Connolly -- "Latin from Manhattan" number from Go into Your Dance

Bobby Connolly -- "Latin from Manhattan" number from Go into Your Dance; and "Playboy from Paree" number from Broadway Hostess

*	Dave Gould -- "I've Got a Feeling You're Fooling" number from Broadway Melody of 1936; and "Straw Hat" number from Folies Bergere

Sammy Lee -- "Lovely Lady" and "Too Good To Be True" numbers from King of Burlesque

Hermes Pan -- "Piccolino" and "Top Hat, White Tie, and Tails" numbers from Top Hat [came in 2nd]

LeRoy Prinz -- "It's the Animal in Me" number from Big Broadcast of 1936; and "Viennese Waltz" number from All the King's Horses

Benjamin Zemach -- "Hall of Kings" number from She

DIRECTING

Captain Blood -- Michael Curtiz [came in 2nd]

[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]

*	The Informer -- John Ford

The Lives of a Bengal Lancer -- Henry Hathaway [came in 3rd]

Mutiny on the Bounty -- Frank Lloyd

FILM EDITING

David Copperfield -- Robert J. Kern

The Informer -- George Hively [came in 3rd]

Les Miserables -- Barbara McLean

The Lives of a Bengal Lancer -- Ellsworth Hoagland

*	A Midsummer Night's Dream -- Ralph Dawson

Mutiny on the Bounty -- Margaret Booth [came in 2nd]

MUSIC (Scoring)

Captain Blood -- Warner Bros.-First National Studio Music Department, Leo Forbstein, head of department (Score by Erich Wolfgang Korngold) [came in 3rd]

[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]

*	The Informer -- RKO Radio Studio Music Department, Max Steiner, head of department (Score by Max Steiner)

Mutiny on the Bounty -- Metro-Goldwyn-Mayer Studio Music Department, Nat W. Finston, head of department (Score by Herbert Stothart) [came in 2nd]

Peter Ibbetson -- Paramount Studio Music Department, Irvin Talbot, head of department (Score by Ernst Toch)

MUSIC (Song)

"Cheek To Cheek" from Top Hat -- Music and Lyrics by Irving Berlin [came in 2nd]

"Lovely To Look At" from Roberta -- Music by Jerome Kern; Lyrics by Dorothy Fields and Jimmy McHugh [came in 3rd]

*	"Lullaby Of Broadway" from Gold Diggers of 1935 -- Music by Harry Warren; Lyrics by Al Dubin

OUTSTANDING PRODUCTION

Alice Adams -- RKO Radio

Broadway Melody of 1936 -- Metro-Goldwyn-Mayer

Captain Blood -- Cosmopolitan [came in 3rd]

David Copperfield -- Metro-Goldwyn-Mayer

The Informer -- RKO Radio [came in 2nd]

Les Miserables -- 20th Century

The Lives of a Bengal Lancer -- Paramount

A Midsummer Night's Dream -- Warner Bros.

*	Mutiny on the Bounty -- Metro-Goldwyn-Mayer

Naughty Marietta -- Metro-Goldwyn-Mayer

Ruggles of Red Gap -- Paramount

Top Hat -- RKO Radio

SHORT SUBJECT (Cartoon)

The Calico Dragon -- Harman-Ising [came in 3rd]

*	Three Orphan Kittens -- Walt Disney, Producer

Who Killed Cock Robin? -- Walt Disney, Producer [came in 2nd]

SHORT SUBJECT (Comedy)

*	How to Sleep -- Jack Chertok, Producer

Oh, My Nerves -- Jules White, Producer [came in 2nd]

Tit for Tat -- Hal Roach, Producer [came in 3rd]

SHORT SUBJECT (Novelty)

Audioscopiks -- Pete Smith, Producer [tied for 2nd]

Camera Thrills -- Universal [tied for 2nd]

*	Wings over Mt. Everest -- Gaumont British and Skibo Productions

SOUND RECORDING

Bride of Frankenstein -- Universal Studio Sound Department, Gilbert Kurland, Sound Director

Captain Blood -- Warner Bros.-First National Studio Sound Department, Nathan Levinson, Sound Director [came in 2nd]

The Dark Angel -- United Artists Studio Sound Department, Thomas T. Moulton, Sound Director

I Dream Too Much -- RKO Radio Studio Sound Department, Carl Dreher, Sound Director

The Lives of a Bengal Lancer -- Paramount Studio Sound Department, Franklin B. Hansen, Sound Director [came in 3rd]

Love Me Forever -- Columbia Studio Sound Department, John Livadary, Sound Director

*	Naughty Marietta -- Metro-Goldwyn-Mayer Studio Sound Department, Douglas Shearer, Sound Director

$1,000 a Minute -- Republic Studio Sound Department

Thanks a Million -- 20th Century-Fox Studio Sound Department, E. H. Hansen, Sound Director

WRITING (Original Story)

Broadway Melody of 1936 -- Moss Hart [came in 3rd]

G-Men -- Gregory Rogers [came in 2nd]

[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]

The Gay Deception -- Don Hartman, Stephen Avery

*	The Scoundrel -- Ben Hecht, Charles MacArthur

WRITING (Screenplay)

Captain Blood -- Casey Robinson [came in 3rd]

[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]

*	The Informer -- Dudley Nichols [NOTE: Mr. Nichols initially refused the award, but Academy records indicate that he was in possession of a statuette by 1949.]

The Lives of a Bengal Lancer -- Screenplay by Waldemar Young, John L. Balderston, Achmed Abdullah; Adaptation by Grover Jones, William Slavens McNutt

Mutiny on the Bounty -- Talbot Jennings, Jules Furthman, Carey Wilson [came in 2nd]

SPECIAL AWARD

*	To David Wark Griffith, for his distinguished creative achievements as director and producer and his invaluable initiative and lasting contributions to the progress of the motion picture arts.

SCIENTIFIC OR TECHNICAL AWARD (Class II)

*	To AGFA ANSCO CORPORATION for their development of the Agfa infra-red film. [Film]

*	To EASTMAN KODAK COMPANY for their development of the Eastman Pola-Screen. [Lenses and Filters]

SCIENTIFIC OR TECHNICAL AWARD (Class III)

*	To METRO-GOLDWYN-MAYER STUDIO for the development of anti-directional negative and positive development by means of jet turbulation, and the application of the method to all negative and print processing of the entire product of a major producing company. [Laboratory]

*	To WILLIAM A. MUELLER of Warner Bros.-First National Studio Sound Department for his method of dubbing, in which the level of the dialogue automatically controls the level of the accompanying music and sound effects. [Sound]

*	To MOLE-RICHARDSON COMPANY for their development of the "Solar-spot" spot lamps. [Lighting]

*	To DOUGLAS SHEARER and METRO-GOLDWYN-MAYER STUDIO SOUND DEPARTMENT for their automatic control system for cameras and sound recording machines and auxiliary stage equipment. [Stage Operations]

*	To ELECTRICAL RESEARCH PRODUCTS, INC. for their study and development of equipment to analyze and measure flutter resulting from the travel of the film through the mechanisms used in the recording and reproduction of sound. [Sound]

*	To PARAMOUNT PRODUCTIONS, INC. for the design and construction of the Paramount transparency air turbine developing machine. [Laboratory]

*	To NATHAN LEVINSON, Director of Sound Recording for Warner Bros.-First National Studio, for the method of intercutting variable density and variable area sound tracks to secure an increase in the effective volume range of sound recorded for motion pictures. [Sound]