- 1951 Oscars were held at the RKO Pantages Theatre on March
20, 1952
- Host: Danny Kaye
|
|
| 1951
Nominees and Winners: |
| Best Motion Picture |
An American in Paris, Arthur Freed, producer
(MGM) |
|
Decision Before Dawn, Anatole Litvak and Frank
McCarthy, producers (Twentieth Century-Fox) |
|
A Place in the Sun, George Stevens, producer
(Paramount) |
|
Quo Vadis, Sam Zimbalist, producer (MGM) |
|
A Streetcar Named Desire, Charles K. Feldman,
producer (Warner Bros.) |
| Best Actor |
Humphrey Bogart, The African Queen |
|
Marlon Brando, A Streetcar Named Desire |
|
Montgomery Clift, A Place in the Sun |
|
Arthur Kennedy, Bright Victory |
|
Fredric March, Death of a Salesman |
| Best Actress |
Katharine Hepburn, The African Queen |
|
Vivien Leigh, A Streetcar Named Desire |
|
Eleanor Parker, Detective Story |
|
Shelley Winters, A Place in the Sun |
|
Jane Wyman, The Blue Veil |
| Actor in a Supporting Role |
Leo Genn, Quo Vadis |
|
Karl Malden, A Streetcar Named Desire |
|
Kevin McCarthy, Death of a Salesman |
|
Peter Ustinov, Quo Vadis |
|
Gig Young, Come Fill the Cup |
| Actress in a Supporting Role |
Joan Blondell, The Blue Veil |
|
Mildred Dunnock, Death of a Salesman |
|
Lee Grant, Detective Story |
|
Kim Hunter, A Streetcar Named Desire |
|
Thelma Ritter, The Mating Season |
| Directing |
John Huston, The African Queen |
|
Elia Kazan, A Streetcar Named Desire |
|
Vincente Minnelli, An American in Paris |
|
George Stevens, A Place in the Sun |
|
William Wyler, Detective Story |
| Writing |
| Motion Picture Story |
Budd Boetticher and Ray Nazarro, Bullfighter
and the Lady |
|
Paul Dehn and James Bernard, Seven Days
to Noon |
|
Alfred Hayes and Stewart Stern, Teresa |
|
Oscar Millard, The Frogmen |
|
Robert Riskin and Liam O'Brian, Here Comes
the Groom |
| Screenplay |
James Agee and John Huston, The African Queen |
|
Jacques Natanson and Max Ophuls, La Ronde |
|
Tennessee Williams, A Streetcar Named Desire |
|
Michael Wilson and Harry Brown, A Place
in the Sun |
|
Philip Yordan and Robert Wyler, Detective Story |
| Story and Screenplay |
Philip Dunne, David and Bathsheba |
|
Clarence Greene and Russell Rouse, The Well |
|
Alan Jay Lerner, An American in Paris |
|
Robert Pirosh, Go for Broke! |
|
Billy Wilder, Lesser Samuels and Walter Newman,
The Big Carnival |
|
| Cinematography |
| Black-and-White |
Norbert Brodine, The Frogmen |
|
Robert Burks, Strangers on a Train |
|
William C. Mellor, A Place in the Sun |
|
Frank Planer, Death of a Salesman |
|
Harry Stradling, A Streetcar Named Desire |
| Color |
Alfred Gilks and John Alton, An American
in Paris |
|
Charles Rosher, Show Boat |
|
John F. Seitz and W. Howard Greene, When Worlds
Collide |
|
Leon Shamroy, David and Bathsheba |
|
Robert Surtees and William V. Skall, Quo Vadis |
|
| Art Direction |
| Black-and-White |
Richard Day, art direction; George James Hopkins,
set decoration, A Streetcar Named Desire |
|
D'Eaubonne, art direction and set decoration,
La Ronde |
|
Cedric Gibbons and Paul Groesse, art direction;
Edwin B. Willis and Jack D. Moore, set decoration,
Too Young to Kiss |
|
Lyle Wheeler and John DeCuir, art direction; Thomas
Little and Paul S. Fox, set decoration, House
on Telegraph Hill |
|
Lyle Wheeler and Leland Fuller, art direction;
Thomas Little and Fred J. Rode, set decoration,
Fourteen Hours |
| Color |
Cedric Gibbons and Preston Ames, art direction;
Edwin B. Willis and Keogh Gleason, set decoration,
An American in Paris |
|
Hein Heckroth, art direction and set decoration,
Tales of Hoffmann |
|
William A. Horning, Cedric Gibbons and Edward
Carfagno, art direction; Hugh Hunt, set decoration,
Quo Vadis |
|
Lyle Wheeler and George Davis, art direction;
Thomas Little and Paul S. Fox, set decoration, David
and Bathsheba |
|
Lyle Wheeler and Leland Fuller, art direction;
Joseph C. Wright, musical settings; Thomas Little
and Walter M. Scott, set decoration, On the Riviera |
|
| Sound Recording |
MGM Studio Sound Dept., The Great Caruso |
|
RKO Radio Studio Sound Dept., Two Tickets to Broadway |
|
Samuel Goldwyn Studio Sound Dept., I Want You |
|
Universal-International Studio Sound Dept., Bright
Victory |
|
Warner Bros. Studio Sound Dept., A Streetcar Named
Desire |
| Music |
| Song |
“In the Cool, Cool, Cool of the Evening,” Here
Comes the Groom, Hoagy Carmichael, music; Johnny
Mercer, lyrics |
|
“A Kiss to Build a Dream On,” The Strip,
Bert Kalmar, Harry Ruby and Oscar Hammerstein II,
music and lyrics |
|
“Never,” Golden Girl, Lionel Newman, music;
Eliot Daniel, lyrics |
|
“Too Late Now,” Royal Wedding, Burton Lane,
music; Alan Jay Lerner, lyrics |
|
“Wonder Why,” Rich, Young and Pretty, Nicholas
Brodszky, music; Sammy Cahn, lyrics |
| Scoring of a Dramatic or Comedy Picture |
Alfred Newman, David and Bathsheba |
|
Alex North, Death of a Salesman |
|
Alex North, A Streetcar Named Desire |
|
Miklos Rozsa, Quo Vadis |
|
Franz Waxman, A Place in the Sun |
| Scoring of a Musical Picture |
Peter Herman Adler and Johnny Green, The Great
Caruso |
|
Adolph Deutsch and Conrad Salinger, Show Boat |
|
Johnny Green and Saul Chaplin, An American
in Paris |
|
Alfred Newman, On the Riviera |
|
Oliver Wallace, Alice in Wonderland |
|
| Film Editing |
Adrienne Fazan, An American in Paris |
|
William Hornbeck, A Place in the Sun |
|
Chester Schaeffer, The Well |
|
Dorothy Spencer, Decision Before Dawn |
|
Ralph E. Winters, Quo Vadis |
| Costume Design |
| Black-and-White |
Lucinda Ballard, A Streetcar Named Desire |
|
Edith Head, A Place in the Sun |
|
Charles LeMaire and Renie, The Model and the
Marriage Broker |
|
Walter Plunkett and Gile Steele, Kind Lady |
|
Edward Stevenson and Margaret Furse, The Mudlark |
| Color |
Hein Heckroth, Tales of Hoffmann |
|
Charles LeMaire and Edward Stevenson, David
and Bathsheba |
|
Herschel McCoy, Quo Vadis |
|
Orry-Kelly, Walter Plunkett and Irene Sharaff,
An American in Paris |
|
Helen Rose and Gile Steele, The Great Caruso |
|
| Special Effects |
When Worlds Collide (Paramount) |
| Short Subjects |
| Cartoon |
Lambert, the Sheepish Lion (Walt Disney
Productions; RKO Radio) |
|
Rooty Toot Toot (Jolly Frolics Series)
(United Productions of America; Columbia) |
|
Two Mouseketeers (Tom and Jerry Series)
(Frederick Quimby, producer; MGM) |
| One-Reel |
Ridin' the Rails (Grantland Rice Spotlight
Series) (Jack Eaton, producer; Paramount) |
|
The Story of Time (Signal Films Production;
Cornell Film Company) |
|
World of Kids (Vitaphone Novelties
Series) (Robert Youngson, producer; Warner Bros.) |
| Two-Reel |
Balzac (Les Films du Compass; A.F. Films,
Inc.) |
|
Danger Under the Sea (Tom Mead, producer;
Universal-International) |
|
Nature's Half Acre (True-Life Adventure
Series) (Walt Disney Productions; RKO Radio) |
|
| Documentary |
| Short Subject |
Benjy (Fred Zinnemann, producer; Paramount) |
|
One Who Came Back (U.S. Department of Defense;
Association of Motion Picture Producers) |
|
The Seeing Eye (Gordon Hollingshead, producer;
Warner Bros.) |
| Feature |
I Was a Communist for the F.B.I. (Bryan
Foy, producer; Warner Bros.) |
|
Kon-Tiki (Artfilm Production; RKO Radio) |
|
| Irving G. Thalberg Memorial Award |
Arthur Freed |
| Honorary Awards |
To Gene Kelly in appreciation of his versatility
as an actor, singer, director and dancer, and specifically
for his brilliant achievements in the art of choreography
on film |
|
To Rashomon (Japan) voted by the Board
of Governors as the most outstanding foreign language
film released in the United States during 1951 |
|
| The
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