:49:00
should have been nominated
for the award.
:49:03
Goodman merely approved budgets and
doled out assignments to art directors.
:49:09
Now, here comes Susanna's
world-famous G over high C.
:49:14
And we'll rest the Alex Golitzen story
until she delivers her note.
:49:27
I always love the way
that Nelson Eddy steps back,
:49:30
as though he's going
to be shattered by that note.
:49:40
We were talking about Alex Golitzen
and his Oscar for Phantom.
:49:44
Through some oversight,
Golitzen alone was nominated.
:49:47
And Golitzen alone,
for the art department, won,
:49:50
causing a great deal of consternation with
Goodman and the Universal management.
:49:55
An attempt was made to lobby the
Academy to get Goodman an Oscar too.
:49:59
It was too late, said the Academy. Nothing
they could do, after the fact, about it.
:50:04
The award was shared -
by Russell Gausman and Ira Webb
:50:08
for their set decoration.
:50:10
The Climax, Phantom's follow-up,
:50:12
was in production at the time
of the Academy Awards.
:50:14
The nominated Phantom personnel
were released from shooting to attend.
:50:19
Phantom won for art direction
and colour cinematography,
:50:22
awarded to Mohr and Greene.
:50:24
It was also nominated
for sound recording and musical score.
:50:28
In fact, both Variety
and The Hollywood Reporter
:50:31
remarked on the extraordinary quality
of Phantom's sound
:50:34
and suggested that there would be
a nomination awaiting it.
:50:38
Phantom utilised the Western Electric
Variable Density sound system.
:50:42
In this process, the sound recording was
made on 35mm black-and-white film -
:50:47
optical sound, where a photoelectric cell
exposed, through a slit,
:50:52
the modulations
carried from the microphone.
:50:55
The other major system in Hollywood
was variable area.
:50:58
The variable-area system was
a high-contrast white-on-black line