Best Actor and Actress Oscar Winners: 1929-1950

Here is a quick reference guide to the Best Actor and Actress Oscar winners from the first Academy Awards through 1950, with a brief description of the characters portrayed. There were quite a few portrayal of real-life figures, as well as fictional heroes and troubled souls drawn from plays and literature. The year after the winner’s name is the year the Oscar was awarded.

• Emil Jannings (5/16/1929) – The Last Command (1927) as Grand Duke Sergius Alexander and The Way of All Flesh (1927) as August Schilling
  Jannings delivered commanding performances in both films, blending silent-era expressiveness with emotional depth as a fallen Russian general and a disgraced banker.
• Warner Baxter (4/3/1930) – In Old Arizona (1928) as The Cisco Kid
  Baxter’s portrayal of O’Henry’s roguish outlaw brought a playful energy to the early sound era. It helped establish the Cisco Kid as an icon of the old West.
• George Arliss (11/5/1930) – Disraeli (1929) as Benjamin Disraeli
  Arliss reprised his worthy stage performance as the 19th century British Prime Minister to the film version of Louis Parker’s 1911 play involving the Suez Canal.
• Lionel Barrymore (11/10/1931) – A Free Soul (1931) as Stephen Ashe
  A New York Times critic went so far as to state that Lionel Barrymore, as an alcoholic attorney and father of top-billed Norma Shearer, gave the only authentic performance in the whole film.
• Wallace Beery (11/18/1932) – The Champ (1931) as Andy “Champ” Purcell (tied with Fredric March)
  Beery’s raw, heartfelt portrayal of a washed-up boxer and devoted father showcased his ability to balance toughness and tenderness.
• Fredric March (11/18/1932) – Dr. Jekyll and Mr. Hyde (1931) as Dr. Henry Jekyll/Mr. Hyde (tied with Wallace Beery)
  March shifted seamlessly between Robert Louis Stevenson’s refined Dr. Jekyll and the monstrous Hyde, setting a high bar for dual-role acting.
• Charles Laughton (3/16/1934) – The Private Life of Henry VIII (1933) as King Henry VIII
  Laughton added new dimensions to the legend of Henry VIII, particularly his excesses, in his well-received over-the-top performance of the English monarch
• Clark Gable (2/27/1935) – It Happened One Night (1934) as Peter Warne
  Gable cast the mold for the charming rogue in romcoms before romantic comedies were called romcoms.
• Victor McLaglen (3/5/1936) – The Informer (1935) as “Gypo” Nolan
  McLaglen delivered an intense portrait of a physically strong but psychologically weak man caught up in the political turmoil of 1920s Dublin
• Paul Muni (3/4/1937) – The Story of Louis Pasteur (1936) as Louis Pasteur
  Muni had the ability to become the character he was portraying. As Louis Pasteur, he embodied the struggles, determination and triumphs that often accompany world-changing scientific breakthroughs.
• Spencer Tracy (3/10/1938) – Captains Courageous (1937) as Manuel Fidello
  Tracy transformed into a Portuguese seaman who takes a spoiled rich boy under his wing in a Kipling’s tale. Tracy convincingly displayed humor, understanding and the compassion that helped the unruly boy respond to love.
• Spencer Tracy (2/23/1939) – Boys Town (1938) as Father Edward Flanagan
  On the heels of his Oscar-winning performance as a fictional mentor to a young boy, Tracy won his 2nd Oscar for his portrayal of the founder of Boys Town, real-life Father Edward J. Flanagan. Tracy captured the quiet dignity, tireless dedication and Flanagan’s sincere conviction that “there are no bad boys.”
• Robert Donat (2/29/1940) – Goodbye, Mr. Chips (1939) as Charles Edward Chipping
  Donat embodies the soul of Arthur Chipping, as he evolves from a young and awkward British schoolteacher into the kind of memorable educator all teachers aspire to be.
• James Stewart (2/27/1941) – The Philadelphia Story (1940) as Macaulay “Mike” Connor
  Stewart portrays a newspaper reporter in a supporting role in one of the Academy’s questionable decisions. Many felt it was a consolation prize after Stewart’s performance in Mr. Smith Goes to Washington failed to win the previous year.
• Gary Cooper (2/26/1942) – Sergeant York (1941) as Sgt. Alvin York
  Cooper was widely praised for his portrayal of the real-life war hero who struggled to square his religious beliefs with his duty to serve his country. With the country on the brink of WW2, Cooper as Sgt. Alvin York served to boost morale and inspire patriotism.
• James Cagney (3/4/1943) – Yankee Doodle Dandy (1942) as George M. Cohan
  Cagney broke out of the gangster mold to showcase the tap dancing and singing skills he had honed on the Vaudeville Circuit. His portrayal of George M. Cohan did much to inspire appreciation for Cohan’s wartime contributions to American morale.
• Paul Lukas (3/2/1944) – Watch on the Rhine (1943) as Kurt Muller
  In this adaptation of a Lillian Hellman play, critics lauded Lukas for his portrayal of an anti-Fascist German, who must deal with a blackmailer after working underground against the Nazi party underground for some 17 years. Some reviewers thought Lukas perfected his stage performance on film.
• Bing Crosby (3/15/1945) – Going My Way (1944) as Father Chuck O’Malley
  Crosby struck several chords with a stellar portrayal of a young Catholic priest filled with modern ideas, music and love
• Ray Milland (3/7/1946) – The Lost Weekend (1945) as Don Birnam
  Milland’s masterful portrayal of the psychological torment and physical pain brought about by alcohol addiction was haunting and ground-breaking.
• Fredric March (3/13/1947) – The Best Years of Our Lives (1946) as Al Stephenson
  March’s second win came for his poignant portrayal of a WWII veteran struggling to reintegrate into civilian life, delivering a performance of quiet strength and vulnerability.
• Ronald Colman (3/20/1948) – A Double Life (1947) as Anthony “Tony” John
  Colman gives a nerve-wracking portrayal of actor who crosses the line into obsession while he is portraying Shakespeare’s Othello.
• Laurence Olivier (3/24/1949) – Hamlet (1948) as Hamlet
  A Shakespearean character took top honors again with Olivier’s portrayal of the brooding Danish prince. While some criticized this “study” of the play, none could fault Olivier’s superb command of the role.
• Broderick Crawford (3/23/1950) – All the King’s Men (1949) as Willie Stark
  Crawford’s portrayal of a corrupt politician, inspired by Huey Long, was both magnetic and menacing, capturing the character’s charismatic personality and his ruthless ambition.

The Oscar-winning actresses who defined early cinema delivered performances that ranged from salt-of-the earth types to saintly types, including a real saint.

• Janet Gaynor (1929) – 7th Heaven (1927) as Diane, Street Angel (1928) as Angela, and Sunrise (1927) as The Wife
  Gaynor’s authentic performances across 3 silent films showcased her ability to convey innocence and resilience.
• Mary Pickford (1930) – Coquette (1929) as Norma Besant
  Pickford portrays a flirtatious Southern belle who falls for a man her father disapproves of, while making a successful transition from silent films to talkies.
• Norma Shearer (1931) – The Divorcee (1930) as Jerry Martin
  Shearer gave an honest and bold performance as a woman grappling with betrayal and disillusionment.
• Marie Dressler (1932) – Min and Bill (1930) as Min Divot
  Dressler’s heartfelt portrayal of a tough yet tenderhearted dockside innkeeper was a mix of humor and pathos.
• Helen Hayes (1933) – The Sin of Madelon Claudet (1931) as Madelon Claudet
  Hayes’ performance as a mother who sacrifices everything for her son was a testament to her ability to convey profound emotional depth.
• Katharine Hepburn (1934) – Morning Glory (1933) as Eva Lovelace
  Hepburn’s vibrant portrayal of an aspiring actress was full of youthful ambition and vulnerability, marking the first of her record 4 wins.
• Claudette Colbert (1935) – It Happened One Night (1934) as Ellie Andrews
  Colbert’s witty performance as a runaway heiress balanced sassiness and charm, adding new dimensions to romantic comedy heroines.
• Bette Davis (1936) – Dangerous (1935) as Joyce Heath
  Davis delivered an intense portrayal of a troubled actress, showcasing her commanding presence and emotional range.
• Luise Rainer (1937) – The Great Ziegfeld (1936) as Anna Held
  Rainer’s delicate, heartfelt performance as the vaudeville star, especially in her iconic telephone scene, was both poignant and unforgettable.
• Luise Rainer (1938) – The Good Earth (1937) as O-Lan
  Rainer brought life to Pearl Buck’s of an under-appreciated Chinese wife, earning her a second consecutive win. Those who have read the novel would agree that Rainier’s performance was excellent.
• Bette Davis (1939) – Jezebel (1938) as Julie Marsden
  Davis’s fiery performance as a headstrong Southern belle was both magnetic and tragic, cementing her as a Hollywood titan.
• Vivien Leigh (1940) – Gone with the Wind (1939) as Scarlett O’Hara
  Leigh’s iconic portrayal of the beautiful and determined Scarlett O’Hara was a tour de force, capturing the character’s complexity in a turbulent period in history.
• Ginger Rogers (1941) – Kitty Foyle (1940) as Kitty Foyle
  Rogers’s heartfelt performance as a working-class woman navigating love and loss showcased her dramatic depth beyond her dance roles.
• Joan Fontaine (1942) – Suspicion (1941) as Lina McLaidlaw Aysgarth
  Fontaine’s nuanced portrayal of a woman suspecting her husband’s sinister motives was a superb study in subtle tension and vulnerability.
• Greer Garson (1943) – Mrs. Miniver (1942) as Kay Miniver
  Garson’s dignified performance as a British housewife enduring wartime hardships was both inspiring and emotionally resonant.
• Jennifer Jones (1944) – The Song of Bernadette (1943) as Bernadette Soubirous
  Jones’s luminous portrayal of the young French girl who became a saint was both ethereal and grounded, capturing spiritual conviction.
• Ingrid Bergman (1945) – Gaslight (1944) as Paula Alquist Anton
  Bergman’s gripping performance as a woman manipulated into doubting her sanity was a haunting depiction of psychological vulnerability. The film popularized “gaslighting” as a synonym for manipulation long before its ubiquitous 21st century usage.
• Joan Crawford (1946) – Mildred Pierce (1945) as Mildred Pierce< Crawford made a career comeback with her powerful portrayal of a mother sacrificing for her ungrateful daughter.
• Olivia de Havilland (1947) – To Each His Own (1946) as Josephine Norris
  De Havilland conveyed deep emotion with a tender and touching performance as a mother giving up her child.
• Loretta Young (1948) – The Farmer’s Daughter (1947) as Katrin Holstrom
  Young turned in a charming and spirited portrayal of a Swedish-American maid turned politician.
• Jane Wyman (1949) – Johnny Belinda (1948) as Belinda McDonald
  Wyman’s sensitive performance as a deaf-mute woman finding her voice was a powerful triumph.
• Olivia de Havilland (1950) – The Heiress (1949) as Catherine Sloper
  De Havilland won her 2nd Oscar for her portrayal of a plain and shy heiress, dealing with a domineering father and a fortune hunter.

As you know, the Oscar-winning film may or may not have won any acting awards. Here are the films that won Best Picture from the late 1920s through 1950, with a link to their individual pages.

The Roaring Twenties:
1928 – Wings
1929 – The Broadway Melody

The Dirty Thirties:
1930 – All Quiet on the Western Front
1931 – Cimarron
1932 – Grand Hotel
1933 – Cavalcade
1934 – It Happened One Night
1935 – Mutiny on the Bounty
1936 – The Great Ziegfeld
1937 – The Life of Emile Zola
1938 – You Can’t Take It With You
1939 – Gone with the Wind

The Fabulous Forties
1940 – Rebecca
1941 – How Green Was My Valley
1942 – Mrs. Miniver
1943 – Casablanca
1944 – Going My Way
1945 – The Lost Weekend
1946 – The Best Years of Our Lives
1947 – Gentleman’s Agreement
1948 – Hamlet
1949 – All The King’s Men