MovieChat Forums > I'll Cry Tomorrow (1955) Discussion > Susan should have won the oscar!!!!!!

Susan should have won the oscar!!!!!!


Good God!!! I just saw this movie last night and I cannot believe Susan did not get the oscar for this. Did they say The Rose Tatoo's Anna Magnini won that year???? Are they crazy? Funny, but I don't even watch the oscars anymore. I must check out that Rose Tatoo or whatever it was. Susan Hayward was one of the finest actresses to ever be in films. And she was the most beautiful also. So sad to see she died too soon.

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Magnani is great in THE ROSE TATTOO - Daniel Mann directed her Oscar-winning performance and Hayward's Oscar-Nominated one, and 3 years earlier directed Shirley Booth's Oscar-winning performance in COME BACK, LITTLE SHEBA.

"I don't use a pen: I write with a goose quill dipped in venom!"---W. Lydecker

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Hayward deserved the Oscar over Magnani, in my opinion.

FYC
Marion Cotillard, Irfan Khan & Tabu

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I'll Cry Tomorrow is my absolute FAVORITE performance by Susan Hayward on film! Unfortunately for Hayward, she was up against Magnani, who was magnificent in The Rose Tattoo and Katherine Hepburn in Summertime, who was equally brilliant (and who also gave the best performance she ever gave on film!)

It was a really, really tight race that year for best actresses.

I can resist anything but temptation.

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I agree! I agree! I can't believe until this day that Susan Hayward lost the Oscar for "I'll Cry Tomorrow." Anna Magnani was not as good.
By the way, how did Jo Van Fleet not win for "Tomorrow" but instead win for "East of Eden" the same year? That was ridiculous. Van Fleet was far superior as Katie Roth.
Hayward did her own singing. She probably lost in 1952 for "With A Song in My Heart" for not singing.
Too bad that the Academy doesn't announce the vote tally. If you remember, the Academy was big on giving Oscars to foreigners during the 1950s. This was probably due to the fact that World War 11 was over and they felt it was time for rapprochement. Poor excuse, but probably true.
Thanks for writing. There are probably many of us out there who feel that Hayward got robbed that year. She wasn't as good in "I Want to Live!" That was probably her compensatory Oscar for losing in "Tomorrow."

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She's outstanding but as was La Magnani, both actresses truly shined, there is no robbery !

If you want to talk about robbery that year, talk about Doris Day not being nominated for her amazing performance as Ruth Etting in Love Me or Leave Me !

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If you want to talk about robbery...talk about Doris Day not being nominated for her amazing performance as Ruth Etting...

^Absolutely agreed!! Doris Day should have been nominated instead of Jennifer Jones. Then the race would've been even tighter. But, all in all, I still think Hayward deserved the Oscar in '55. Even though I love Magnani, Hepburn and Doris Day in their respective performances.

Also, Jo Van Fleet gives an amazing performance as Lillian's mother. Hayward and Van Fleet really worked extremely well together.

We're all busy little bees, aren't we, honey?

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Magnani was great, but Susan was better. Maybe Oscar has a thing for adaptations of Tennessee Williams' plays.

This was my first exposure to Hayward, and she was magnificent in this film!


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Anna Magnani deserved every bit of that Oscar. End of the story.

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She got one in 1958 for playing Barbra Graham in I want to Live! I have seen both films and as great as she was in this, the scenes in the trial,Gas Chamber and San Quntin are by far her greatest. She had to beat out Lana Turner for Peyton Place which was also a great performance.

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Oh, good lord, Lana Turner was a mannequin in Peyton Place, just like she was in everything else. Not a great actress. Her Peyton Place role is indistinguishable from what she played in Imitation of Life. You take that back right now.

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Susan Hayward's work in this film is incredible. It's unfortunate that the Academy didn't give her the award, because the popularity it could have provided would have continued to encourage more people to see the soul-bearing bravery of her acting. Several woman have played complicated actresses really well in movies, but Hayward's Lillian Roth is special and one of the most shattering embodiments of a star's swan dive out there. Even when the script borders on sadism and occasionally gives her slices of ham dialogue, what always pokes through these flaws is the focus and boldness of a performer without the ego or fear to dig into the deepest levels of desperation and indignity from alcoholism with dark authenticity. It's a great performance.

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